“She is one of great figures in the history of the American musical avant-garde – holding equal standing as an innovator, composer, and performer, but has rarely received the attention she deserves. Considering that she single-handedly changed the face of music, has defined the field of extended vocal technique for the better part of half a century – largely sculpting its terms from scratch, and has continuously pushed our understanding of the sonic possibility of the human voice for decades – drawing on its primal root, thrusting it into the unknown, this sin becomes that much more apparent. -“
It is a sad fact that some artists gain recognition late in their lives, sometimes due to a reappraisal of the “genre” they write. In hindsight some are realising that New Age and Melodic Instrumental music is really worth sitting down and listening to, albeit a bit late for some as in Pauline Anna Strom’s case, or too late for others. Without sounding preachy here – give things a listen, you might be pleasantly surprised.
“Pioneer Spirits: New media representations of women in electronic music history” is a new important article by Frances Morgan in the current issue of Organised Sound, Vol. 22, Issue 2 (Alternative Histories of Electroacoustic Music) August 2017, pp. 238-249.
Teresa Rampazzi is numbered amongst those composers previously “either ignored or thought to be marginal […]. Some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, [Frances Morgan considers] some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them”.
You can read the complete abstract here.
Frances Morgan is Deputy Editor of The Wire, former editor of plan b magazine, writes the Soundings column for Sight & Sound…
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A little bit of history.I just came across this wonderful old recording of the many sounds of one of the early electronic instruments, the Ondes Martenot.