Resources

Click here for a downloadable PDF of the resources below.

Amacher, Maryanne. Selected Writings and Interviews. Brooklyn: Blank Forms, 2020.

Barkin, Elaine, and Lydia Hamessley, eds. Audible Traces: Gender, Identity, and Music. Zurich: Carciofoli Verlagshaus, 2000. [including writings by Unsung Stories participants Mara Helmuth and Ellie Hisama.]

Beecroft, Norma. Conversations With Post World War II Pioneers of Electronic Music. Toronto: Canadian Music Centre, 2015. https://issuu.com/canadianmusiccentre/docs/beecroft_pioneers_promo_clips_ddf3be54e9d2d5/18.

Beecroft, Norma. “The Misfit.” Unpublished typescript. https://docs.google.com/document/d/14rbVn92psG_TkYZj21viTlWPU32rXRvs3bfjaLjxP8Q/edit?usp=sharing.

Bosma, Hannah. “The Electronic Cry: Voice and Gender in Electroacoustic Music.” Ph.D. diss, Amsterdam School for Cultural Analysis, 2013. https://dare.uva.nl/search?identifier=fa216eb9-eab1-468c-98c8-0f76eb679b8a.

Bosma, Hannah. “Gender and Technological Failures in Glitch Music.” Contemporary Music Review 35, no. 1 (2016): 102-114. https://www.tandfonline.com/doi/full/10.1080/07494467.2016.1176789.

Bosma, Hannah. “Unsettling Performances, Soundwalks, and Loudspeakers: Gender in Electroacoustic Music and Other Sounding Arts.” In The Routledge Companion to Sounding Art, edited by Marcel Cobusson, et. al., 305-320. New York: Routledge, 2017.

Bryan, Courtney. “Chapter One.” Interview by Matthew Morrison. Herb Alpert Foundation, Spring 2018. https://herbalpertawards.org/artist/bryan-chapter-one. 

Buzzarté, Monique and Tom Bickley, eds. Anthology of Essays on Deep Listening. Kingston, NY: Deep Listening Publications, 2012.

Carlos, Wendy. “Official Wendy Carlos Online Information Source.” http://www.wendycarlos.com/.

Carlos, Wendy. "Wendy's World." NewMusicBox, January, 18, 2007. http://www.wendycarlos.com/other/NMBHilites.html

Chavez, Maria and Seth Cluett. “Pauline Oliveros at ICMC Re-Visited: Technology and the Self.” Array: The Journal of the International Computer Music Association (2017-18): 15-20. 

Cluett, Seth. "Ephemeral, Immersive, Invasive: Sound as Curatorial Theme 1966-2013." In The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space, edited by Nina Levent and Alvaro Pascual-Leone, 109-118. New York: AltaMira, 2013

Cluett, Seth "Preserving Hardware History: Archiving the Studios at Columbia University." Array: The Journal of the International Computer Music Association (2020): 15-21. https://journals.qucosa.de/array/article/view/2626.

Cohen, Brigid. Musical Migration and Imperial New York. Chicago: University of Chicago Press, forthcoming.

Cohen, Brigid. "Sounds of the Cold War Acropolis: Halim El-Dabh at the Columbia-Princeton Electronic Music Center." Contemporary Music Review 39, no. 6 (2020): 684-707. https://www.tandfonline.com/doi/full/10.1080/07494467.2020.1863006.

Collins, Nick, Margaret Schedel, and Scott Wilson. Electronic Music. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2013.

Cox, Cathy. "Listening to Acousmatic Music." Ph.D. diss, Columbia University, 2006.

Daphne Oram Trust. https://www.daphneoram.org/.

Díaz de Cossío, Teresa and Paul N. Roth. "P/T: Ensenada and Experimentalist Musical Practice: Narrations in Place and Time." In Musicians' Migratory Patterns: American-Mexican Border Lands, Ensenada and Experimentalist Musical Practice: Narrations in Place and Time​, edited by Maurico Rodriguez, 56-76. New York: Routledge, 2020. https://www.taylorfrancis.com/books/edit/10.4324/9780429450440/musicians-migratory-patterns-mauricio-rodr%C3%ADguez.

DeNora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2009. 

Demers, Joanna. Drone and Apocalpyse: An Exhibit Catalog for the End of the World. Alresford, Hampshire.: John Hunt Publishing, 2015.

Demers, Joanna. Listening Through the Noise: The Aesthetics of Experimental Electronic Music. Oxford: Oxford University Press, 2010.

Di Castri, Zosha. “Tachitipo – The Living Passport.” In Arcana IX – Musicians On Music, edited by John Zorn, 62-73. 2021. http://www.tzadik.com/index.php?catalog=B010

Di Castri, Zosha. “The Dream Feed: Musicians on Motherhood.” Podcast audio, 2021. http://www.zoshadicastri.com/projects#/the-dream-feed/.

Diels, Natacha. "Art and the Uncanny: Tapping the Potential." Leonardo Music Journal 24, no. 40 (2014): 75-77.

Dusman, Linda. "Unheard-of: Music as Performance and the Reception of the New." Perspectives of New Music 32, no. 2 (Summer 1994): 130-146.

Dyson, Frances. The Tone of Our Times: Sound, Sense, Economy, and Ecology. Cambridge, MA: MIT Press, 2014.

Dyson, Frances. Sounding New Media: Immersion and Embodiment in the Arts and Culture. Berkeley: University of California Press, 2009.

Eckhardt, Julia. Éliane Radigue: Intermediary Spaces/Espaces intermédiaires. Brussels: Umland editions, 2019.

Eckhardt, Julia, ed. Grounds for Possible Music: On Gender, Voice, Language, and Identity. Brussels: Q-O2, 2018.

Eckhardt, Julia and Leen de Graeve, eds. The Second Sound: Convos on Gender and Music. Brussels: Umland editions, 2017.

Eidsheim, Nina Sun. Sensing Sound: Singing and Listening as Vibrational Practice. Durham: Duke University Press, 2015.

"For the Daughters of Harlem: Working in Sound." Website. https://daughtersofharlem.wordpress.com/

Garton, Brad. “Recent Developments at the Columbia University Computer Music Center.” Current Musicology 66 (1999): 86-94. https://academiccommons.columbia.edu/doi/10.7916/D8CF9P2H.

Garton, Brad. “The Elthar Program.” Perspectives of New Music. 27, no. 1 (Winter 1989): 6-41.

Gaston-Bird, Leslie. Women in Audio. New York: Focal Press, 2019.

Gender Amplified: A Movement Celebrating and Supporting Women Producers. Website. https://genderamplified.org/

Glasberg, Eve. “Daughters of Harlem Teaches Local Young Women to Record and Produce Their Own Music.” Columbia News, February 23, 2019. https://news.columbia.edu/news/daughters-harlem-teaches-local-young-women-record-and-produce-their-own-music

Gluck, Bob. "The Columbia-Princeton Electronic Music Center: Education International Composers." Computer Music Journal 31, no. 2 (2007): 20-38. https://direct.mit.edu/comj/issue/31/2.

Gluck, Bob. Interviews with CPEMC composers Tzvi Avni, Gheorghe Costinescu, Mario Davidovsky, Dariush Dolat-Shahi, Halim El Dabh, alcides lanza, Andrés Lewin-Richter, İlhan Mimaroğlu, and Edgar Valcárcel; as well as Alfredo Del Mónaco and Sergio Cervetti. eContact!, Canadian Electroacoustic Community. 

Green, Lucy. Music, Gender, Education. Cambridge: Cambridge University Press, 1997.

Helmuth, Mara. Multidimensional Representation of Electroacoustic Music. Journal of New Musical Research 25, no. 1 (1996): 77.

Her Noise Archive, http://hernoise.org/.

Hinkle-Turner, Elizabeth. Women Composers and Music Technology in the United States: Crossing the Line. Routledge: 2006.

Hinkle-Turner, Elizabeth. “Women and Music Technology: Pioneers, Precedents and Issues in the United States.” Organised Sound 8, no. 1 (April 2003): 31-47. https://www.cambridge.org/core/journals/organised-sound/article/women-and-music-technology-pioneers-precedents-and-issues-in-the-united-states/FD6CB8B54F415490F82E122FC038DE7B.

Hinkle-Turner, Elizabeth. “Hear Me Now: the Implication and Significance of the Female Composer's Voice as Sound Source in her Electroacoustic Music.” International Computer Music Association (2006): 223-228. https://quod.lib.umich.edu/i/icmc/bbp2372.2006.047/1/--hear-me-now-the-implication-and-significance-of-the-female?page=root;size=150;view=text.

Hinkle-Turner, Elizabeth. “Daria Semegen: Her Life, Work, and Music.” DMA diss., University of Illinois, 1991.

Hisama, Ellie M. and Lucie Vágnerová “For the Daughters of Harlem: Bridging Campus and Community Through Sound.” In Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, edited by Carol J. Oja and Charles Hiroshi Garrett. University of Michigan Press, 2021. https://www.fulcrum.org/concern/monographs/hm50tt73w

Hisama, Ellie M. "Getting to Count." Music Theory Spectrum 43, no. 2 (2021). https://doi.org/10.1093/mts/mtaa033.

Hisama, Ellie M. "Power and Equity in the Academy: Change from Within." Current Musicology 102 (2018): 81-92.
https://journals.library.columbia.edu/index.php/currentmusicology/article/view/5365/2594.

Hisama, Ellie M. and Samantha Ege. "Women composers and modernism, 1920–1945.” In The Cambridge Companion to Women Composers, edited by Matthew Head and Susan Wollenberg. Cambridge University Press, forthcoming.

Holmes, Thom. Electronic and Experimental Music: Technology, Music, and Culture, 5th edition. New York: Routledge, 2016.

James, Robin. The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics. Durham: Duke University Press, 2019.

Jones, Bonnie and Suzanne Thorpe. TECHNE. https://technesound.org/

Kaneda, Miki. "The Unexpected Collectives: Intermedia Art in Postwar Japan." Ph.D. diss, University of California, Berkeley, 2012. https://escholarship.org/uc/item/3rx6n3hv.

Kassabian, Anahid. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. Berkeley: University of California Press, 2013.

Kelly, Jennifer. In Her Own Words: Conversations with Composers in the United States. Urbana: University of Illinois Press, 2013.

Kheshti, Roshanak. Modernity's Ear: Listening to Race and Gender in World Music. New York: New York University Press, 2015.

Kheshti, Roshanak. Switched-on Bach. New York: Bloomsbury Academic, 2019.

Klein, Judy. “Judy Klein, Composer, on her Music, February 2013.” University of Minnesota, Institute for Advanced Study. Video. https://umedia.lib.umn.edu/item/p16022coll263:211.

Lane, Cathy and Angus Carlyle. In the Field: The Art of Field Recording. Axminster, Devon: Uniformbooks, 2013.

Lane, Cathy and Angus Carlyle. Sound Arts Now. Axminster, Devon: Uniformbooks, 2021.

Oliveros, Pauline. Anthology of Text Scores by Pauline Oliveros. Kingston, NY: Deep Listening Publications, 2013.

"Laurie Spiegel." Waveshaper Media. Three-part video series. 

Part I: https://www.youtube.com/watch?v=zLd1RUDmX6w.

Part II: https://www.youtube.com/watch?v=fKX21xp6hhA.

Part III: https://www.youtube.com/watch?v=FH86KxFR4HI.

Lockwood, Annea. “Annea Lockwood, Composer, on Natural Sounds, February 2013.” University of Minnesota, Institute for Advanced Study. Video. https://umedia.lib.umn.edu/item/p16022coll263:457.

Manzella, Sam. “Love Synth Pop? Thank Wendy Carlos, the Trans Woman Who Invented It.” NewNowNext. October 25, 2019. http://www.newnownext.com/wendy-carlos-transgender-synthpop-pioneer/10/2019/.

Masaoka, Miya, and Miki Kaneda. "Listening Histories: Miya Masaoka in Conversation with Miki Kaneda." ASAP/Journal 4, no. 1 (2019): 58-70.

Morgan, Frances. "Pioneer Spirits: New Media Representations of Women in Electronic Music History." Organised Sound 22, no. 2 (2017): 238-249. https://www.cambridge.org/core/journals/organised-sound/article/pioneer-spirits-new-media-representations-of-women-in-electronic-music-history/2F9E569FEEA8EB30FBB7CD2C724A1FE9.

Morgan, Frances. "Delian Modes: Listening for Delia Derbyshire in Histories of Electronic Dance Music." Dancecult 9, no. 1 (2017): 9-27. [and rest of journal issue] https://dj.dancecult.net/index.php/dancecult/issue/view/97.

Morrison, Matthew. “The Sound(s) of Subjection: Constructing American Popular Music and Racial Identity Through Blacksound.” Women & Performance: A Journal of Feminist Theory, 27 no. 1 (Feb 2017): 13-24.

Napolin, Julie Beth. The Face of Resonance: Modernist Acoustics and Narrative Form. New York: Fordham University Press, 2020.

Naphtali, Dafna. “Dafna Naphtali, Composer, on her Process, February 2013.” University of Minnesota, Institute for Advanced Study. Video. https://umedia.lib.umn.edu/item/p16022coll263:298.

National Academy of Sciences, Engineering, and Medicine. Sexual Harassment of Women: Climate, Culture, and Consequences in Academic Sciences, Engineering, and Medicine. Washington, DC: The National Academies Press, 2018. https://doi.org/10.17226/24994.

Niebur, Louis. Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop. Oxford: Oxford University Press, 2010.

Oliveros, Pauline. Deep Listening: A Composer's Sound Practice. Lincoln, NE: iUniverse, 2005.

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

Oliveros, Pauline. Software for People: Collected Writings, 1963-1980. Kingston, NY: Pauline Oliveros Publications, 1984.

Ouzounian, Gascia. Stereophonica: Sound and Space in Science, Technology, and the Arts. Cambridge, MA: MIT Press, 2021.

Packer, Renée Levine. This Life of Sounds: Evenings for New Music in Buffalo. Oxford: Oxford University Press, 2010.

Patterson, Nick. "The Archives of the Columbia-Princeton Electronic Music Center." Notes 67, no. 3 (2011): 483-502.

Pegley, Karen. “Gender, Voice, and Place: Issue of Negotiation in a ‘Technology in Music’ Program.” In Music and Gender, edited by Pirkko Moisala and Beverley Diamond. Urbana: University of Illinois Press, 2000.

Puckette, Miller and Kerry L. Hagan. Between the Tracks: Musicians on Selected Electronic Music. Cambridge: The MIT Press, 2020. [including chapter by Unsung Stories contributor Yvette Janine Jackson]

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

Saklosky, Ronald B. and Fred Wei-han Ho. Sounding Off!: Music as Subversion/Resistance/Revolution. Brooklyn: Autonomedia, 1995.

Semegen, Daria. "Electronic Music: Art Beyond Technology." In On the Wires of Our Nerves: The Art of Electroacoustic Music, edited by Robin Julian Heifetz, 32-36. Lewisburg: Bucknell University Press, 1989.

Semegen, Daria. "So Many Awareness Pixels Going on at the Same Time." NewMusicBox, July 1, 2018. https://nmbx.newmusicusa.org/daria-semegen-so-many-awareness-pixels-going-on-at-the-same-time/

Shields, Alice. “Alice Shields, Composer, on her Musical Life, March 2013.” University of Minnesota, Institute for Advanced Study. Video. https://umedia.lib.umn.edu/item/p16022coll263:548?q=composer

Shields, Alice. "Electroacoustic Music with Video: Comparison with Sound for Film." NewMusicBox, July 14, 2016. https://nmbx.newmusicusa.org/electroacoustic-music-with-video-comparison-with-sound-for-film/

Shields, Alice. Liner notes to "Columbia-Princeton Electronic Music Center 1961-1973." New World Records Cat. No. 80521, CD, 1998. https://nwr-site-liner-notes.s3.amazonaws.com/80521.pdf

Shields, Alice. "Structural and Playback Issues in Current Electroacoustic Music." NewMusicBox, June 9, 2016. https://nmbx.newmusicusa.org/structural-and-playback-issues-in-current-electroacoustic-music/

Shields, Alice. "Timbre, Envelope and Variation in Electroacoustic Music." NewMusicBox, June 23, 2016. https://nmbx.newmusicusa.org/timbre-envelope-and-variation-in-electroacoustic-music/

Sofer, Danielle. "Breaking Silence, Breaching Censorship: "Ongoing Interculturality" in Alice Shields's Electronic Opera Apocalypse." American Music 36, no. 2 (2018): 135-162. https://www.shlomitsofer.com/docs

Sofer, Danielle. “Categorising Electronic Music.” Contemporary Music Review 39, no. 2 (2020): 231-251. https://www.shlomitsofer.com/docs

Sofer, Danielle. Sex Sounds: Vectors of Difference in Electronic Music. Cambridge: MIT Press, forthcoming.

Stoever, Jennifer Lynn. The Sonic Color Line: Race and the Cultural Politics of Listening. New York: NYU Press, 2016.

Tamirisa, Asha. "Sonic Activism in the Integrated Circuit." Feminist Review 127, no. 1 (2021): 13-19.

Taylor, Gregory. "Thoughts on Gender and Computer Music." Array: The Journal of the International Computer Music Association (2006): 33-36. https://journals.qucosa.de/array/article/view/2451/2295.

Responses by Oliveros, et. al. Array (2007/2008): 20-25.  https://journals.qucosa.de/array/article/view/2459/2303.

Uy, Michael Sy. Ask the Experts: How Ford, Rockefeller, and the NEA Changed American Music. New York: Oxford University Press, 2020.

Uy, Michael Sy. "The Recorded Anthology of American Music and the Rockefeller Foundation: Expertise, Deliberation, and Commemoration in the Bicentennial Celebrations." American Music 35, no. 1 (Spring 2017): 75-93.

Vágnerová, Lucie. Sirens / Cyborgs: Sound Technologies and the Musical Body. PhD diss., Columbia University, 2016.

Voegelin, Salomé. The Political Possibility of Sound: Fragments of Listening. London: Bloomsbury Academic, 2014.

Weheliye, Alexander G. Phonographies: Grooves in Sonic Afro-Modernity. Durham: Duke University Press, 2005.