De la interfaz física a la digitalUn análisis transversal de la aportación de las principales creadoras a la música electrónica

  1. Vertedor-Romero, José Antonio 1
  1. 1 Universidad de Málaga
    info

    Universidad de Málaga

    Málaga, España

    ROR https://ror.org/036b2ww28

Revista:
SOBRE: Prácticas artísticas y políticas de la edición

ISSN: 2444-3484

Año de publicación: 2022

Título del ejemplar: Sonido público

Número: 8

Páginas: 7-21

Tipo: Artículo

DOI: 10.30827/SOBRE.V8I.23605 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Otras publicaciones en: SOBRE: Prácticas artísticas y políticas de la edición

Resumen

Applying a qualitative content-analysis methodology, this article sets out a transversal study providing a brief chronological journey through the historical context of sound-creation. On the one hand, it presents contributions made by women to electronic music-creation, such as their influence on the development of different synthesizers for the creation of sound. On the other, it takes a look at contemporary artistic practices in sound-creation and explores how technology has contributed to the democratization of women’s work in electronic-music studies. This shows how the creative process is becoming increasingly inclusive through technology. One example is that of the trends in computer-based art-making relating to live coding. This article joins a growing research impulse in the Spanish-speaking world calling for contributions to its development that speak to its creative processes while avoiding discrimination against people based on their social context. This speaks to the idea of building a more humane and creative future.

Referencias bibliográficas

  • Armitage, J. y Thornham, H. (2021). Don’t Touch my MIDI Cables: Gender, Technology and Sound in Live Coding. Feminist Review, 127(1), 90-106. https://doi.org/10.1177/0141778920973221
  • Ars Electronica. (s. f.). Women in Media Arts. Recuperado el 12 de diciembre de 2021, de https://archive.aec.at/womeninmediaarts/
  • Ascanio, A. (2001). Análisis de contenido del discurso político. Equinoccio.
  • Attali, J. (2009). Noise: The Political Economy of Music (10th ed.). University of Minnesota Press. https://doi.org/10.25101/15.14.
  • Bauman, M. (2018, 4 de septiembre). The RAND Tablet: iPad Predecessor. The RAND Blog. https://www.rand.org/blog/rand-review/2018/09/the-rand-tablet-ipad-predecessor.html
  • Bolt, I. (2017, 31 de agosto). Meet the Female Coders Pushing Electronic Music into the Future. Mixmag. https://mixmag.net/feature/female-coders-algorave
  • Buchla. (s. f.). History. https://buchla.com/history/
  • Ciani, S. (s. f.). BIO. Suzanne Ciani. https://www.sevwave.com/bio
  • Collins, N. y McLean, A. (2014). Algorave: A Survey of the History, Aesthetics and Technology of Live Performance of Algorithmic Electronic Dance Music. En Proceedings of the International Conference on New Interfaces for Musical Expression (pp. 355-358). NIME. http://www.nime.org/proceedings/2014/nime2014_426.pdf
  • Costa, J. M. (2015, 26 de febrero). Ellas también hacen ruido y desde mucho antes que tú. El Diario. https://www.eldiario.es/cultura/musica/ellas-hacen-ruido_1_4354684.html
  • Cox, C. y Warner, D. (Eds.). (2017). Audio Culture: Readings in Modern Music (Revised Ed.). Bloomsbury.
  • Daphne Oram. (s. f). The Oramics Machine. https://www.daphneoram.org/oramicsmachine/
  • DOMUNO. (s. f.). Domuno Blog. https://www.domuno.es
  • Doornbusch, P. (2004). Computer Sound Synthesis in 1951: The Music of CSIRAC. Computer Music Journal, 28(1), 10-25. https://doi.org/10.1162/014892604322970616
  • Goh, A. y Thompson, M. (2021). Sonic Cyberfeminisms: Introduction. Feminist Review, 127(1), 1-12. https://doi.org/10.1177/0141778920967624
  • Heroines of Sound. (2022). About. https://www.heroines-of-sound.com/about/
  • Jenkins, M. (1964). Sound Synthesis. En I. R. Sinclair (Ed.), Audio and Hi-Fi Handbook (3rd ed., 362-377). Reed Educational and Professional Publishing. https://doi.org/10.1016/B978-0-08-054564-6.50024-0
  • Kahn, D. (1999). Noise, Water, Meat: A History of Sound in the Arts. The MIT Press Cambridge.
  • Krippendorff, K. (2018). Content Analysis. An Introduction to its Methodology (4th ed.). SAGE Publications.
  • López Castilla, M. T. (2015). Música electrónica y cultura de club: un estudio postfeminista de la escena española [Tesis doctoral, Universidad de La Rioja]. Dialnet. https://dialnet.unirioja.es/servlet/tesis?codigo=46122
  • López, M. (2016, 18 de octubre). She Makes Noise: «El festival y todo el proyecto es activista desde el propio título». Nokton: Cultura de Bajo Consumo y Alta Potencia. https://noktonmagazine.com/smnchicas-que-hacen-ruido/
  • López Noguero, F. (2002). El análisis de contenido como método de investigación. Revista de Educación (4), 167-179.
  • Messynessy. (2019, 2 de octubre). She’s the 1970s Platinum-Selling Transgender Artist We’d Never Heard Of. https://www.messynessychic.com/2019/10/02/shes-the-1970s-platinum-selling-transgender-artist-youve-never-heard-of/
  • Miranda, E. R. (2002). Computer Sound Design. Synthesis Techniques and Programming (2nd ed.). Focal Press.
  • Moog, R. (1980). Monophonic Touch Sensitive Keyboard (Patent No. 882,262).
  • Otchy, C. (2017, 3 de octubre). Drone and Restraint: The Work of Electronic Composer Eliane Radigue. Medium. https://chrisotchy.medium.com/drone-and-restraint-the-work-of-electronic-composer-eliane-radigue-ffb0769aa94b
  • Red Bull Music Academy. (s. f.). Suzanne Ciani. Sónar. https://sonar.es/es/2017/artistas/suzanne-ciani
  • Rentschler, C. (2019). Making Culture, Doing Feminism. En T. Oren y A. Press (Eds.), The Routledge Handbook of Contemporary Feminism (pp. 127-147). Routledge.
  • Richards, T. (2018). Oramics: Precedents, Technology and Influence. Daphne Oram (1925-2003) [Tesis doctoral, University of London]. Research Online, Goldmiths, University of London. https://research.gold.ac.uk/id/eprint/26356/
  • Rodgers, T. (2010). Pink Noises. Women on Electronic Music and Sound. Duke University Press.
  • Rovner, L. (Directora). (2020). Sisters with Transistors [Documental]. Anna Lena Films y Willow Glen Films.
  • SistersWithTransistors. (s. f.). Sisters with Transistors. https://sisterswithtransistors.com/
  • Spiegel, L. (s. f.). Early Computer Art from 1970s Bell Labs. Laurie Spiegel. http://www.retiary.org/ls/btl/ls_btl_art.html
  • Spiegel, L. (s. f.). Computer Software by Laurie Spiegel. Laurie Spiegel. http://musicmouse.com/
  • Supper, A. (2014). Sublime Frequencies: The Construction of Sublime Listening Experiences in the Sonification of Scientific Data. Social Studies of Science, 44(1), 34-58. https://doi.org/10.1177/0306312713496875
  • Susana. (2017, 10 de octubre). Clara Rockmore. La virtuosa del theremín. Huellas de Mujeres Geniales. http://www.huellasdemujeresgeniales.com/clara-rockmore-la-virtuosa-del-theremin/
  • Tamirisa, A. (2021). Sonic Activism in the Integrated Circuit. Feminist Review, 127(1), 13-19. https://doi.org/10.1177/
  • Trilnick, C. (2019, 16 de enero). Alexandra Cárdenas. IDIS. https://proyectoidis.org/alexandra-cardenas/
  • Valle, S. (s. f.). Pioneras de la música electrónica. MYM: Mujeres y Música. http://mujeresymusica.com/pioneas-musica-electronica/
  • VCV. (s. f.). VCV Rack - Open-source virtual modular synthesizer. https://vcvrack.com/
  • Wajcman, J. (2006). El tecnofeminismo. Ediciones Cátedra.
Fuente de los datos: Dialnet