Here are a few articles you may enjoy that also include listening…
If you are interested in Sound Art, I have just found this great site The Thames Submarine that combines audio and video into a deeper exploration of the sound art practice of artists – as it states An online space for sound works and ideas.
Here’s one of my favourites but it is well worth looking at the archive and listening on soundcloud
Deeper Listening: An Introduction to Drone Composition By Vanessa Ague · May 17, 2021
The Wall-Shaking Delights of Stockholm’s Experimental Drone Scene By Samuel Tornow · July 28, 2020
via The Wire Magazineon twitter here’s a wonderful collection of sounds, archive, writings from Nameless Sound….everything you would wish to know about Pauline Oliveros from the Nameless Sound archives …
Curious to hear what Teresa Rampazzi’s (1914-2001) voice sounded like? This is a unique opportunity. This audio track I’ve uploaded on SoundCloud is part of a radio programme aired in 1985 “Le nuove frontiere della musica” (New frontiers of music; director: Tonino Delfino). Rampazzi and Delfino are discussing her piece “Taras su tre dimensioni”. The […]
There is always just so much posted on IWD and increasingly I feel overwhelmed by all the sheer amount of articles and playlists. However, here’s one that covers mostly Classical artists, some who use electronic processes but also covering several platforms such as Vimeo, Bandcamp and SoundCloud, all in one post. Concentrating on Australian composers – Really worth checking out.
The theme for International Women’s Day in 2019 is #BalanceforBetter. Happy International Women’s Day! The team would like to acknowledge that lists such as these invariably exclude more composers than they promote. However, we embrace the opportunity to reflect on the striking music featured by female-identifying composer in Making Waves playlists and the Making Conversation […]
On an October evening in 1934, Clara Rockmore made her debut performance with the theremin, a then-new electronic instrument played without touch, in New York City’s historic Town Hall. Attended by critics from every major newspaper in the city, the performance not only marked the beginning of Rockmore’s illustrious career as a thereminist, it also […]
“Firstly I wish to thank all the people and groups who have read this blog plus all the feedback and input from the readers. Immense gratitude towards all the women and men who have contributed with their views, artwork, information and ideas. It is a small feat yet to say with pride, that this blog […]
I have enjoyed reading the series these last weeks and recommend this highly informative and positive series of posts. Sounds like there are big plans for the future and I hope they come to fruition. More of the series here
On May 18th, 2017, Solange Knowles took viewers on an expedition as she glided, danced and “agonized” in a “joyful praise break” on the floor of New York City’s Guggenheim museum. Drawing from the museum’s narrative of introspection and multi-sensory connection, Solange’s performance of “An Ode To. . .” prompted viewers to relearn and reorient the melodies of A Seat at the Table (2016). Solange’s performance in this setting hearkened listeners to new concepts and emotions in the record they didn’t catch before as they consumed it. This begs the question– what other sonic elements have we neglected to identify in A Seat…
Sounding Out! is a definite recommend from me. It never ceases to amaze me how long term issues such as gender and class, amongst others, are covered in engaging, intelligent and interesting ways and this series is a welcome addition to their huge collection of writings, articles and ‘food for thought’.
Our listening practices are discursively constructed. In the sonic landscape of India, in particular, the way in which we listen and what we hear are often normative, produced within hegemonic discourses of gender, class, caste, region, and sexuality. . . This forum, Gendered Soundscapes of India, offers snapshots of sound at sites of trans/national production, marketing, filmic and musical texts. Complementing these posts, the accompanying photographs offer glimpses of gendered community formation, homosociality, the pervasiveness of sound technology in India, and the discordant stratified soundscapes of the city. This series opens up for us the question of other contexts in India where sound, gender, and technology might intersect, but, more broadly, it demands that we consider how sound exists differently in Pakistan, Sri Lanka, the Maldives, Bangladesh, Bhutan, Nepal, and Afghanistan. How might we imagine a sonic framework and South Asia from these…