THIS IS AN EXCELLENT LIST OF BOOKS USED FOR MY 2005 THESIS ON WOMEN IN MULTIMEDIA.
SELECT BIBLIOGRAPY
Ahtila, Eija-Liisa, Vanessa Beecroft, Willie Doherty, Douglas Gordon, Aernout Mik,
Tony Oursler, Sam Samore, Georgiana Starr, and Gillian Wearing. ID: An
International Survey on the Notion of Identity in Contemporary Art. Eindhoven:
Stedelijk Van Abbemuseum, 1996.
Ammer, Christine. Unsung: A History of Women in American Music. Portland: Amadeus
Press, 2001.
Anderson, Laurie. The End of the Moon. Gusman Center for the Performing Arts, Miami,
23 October 2004.
Armstrong, Simon and Joan Rothfuss. In the Spirit of Fluxus. Walker Art Center,
Minneapolis, Minnesota, 1993.
Berberian, Cathy. Stripsody. New York: C.F. Peters Corporation, 1966.
Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of
the Musical Avante-Garde. Berkeley, Los Angeles, London: University of California
Press, 1995.
Bortez, Benjamin and Edward T. Cone, eds. Perspectives on Contemporary Music
Theory. New York: W.W. Norton & Co. Inc., 1972.
Borchert, Gavin. "American Women in Electronic Music, 1984-1994." Contemporary
Music Review. vol. 16. Parts 1 & 2. (1997), 89-97.
Bosse, Joanna. "Creating Options, Creating Music; An Interview with Laurie Spiegel."
Contemporary Music Review. vol. 16. Parts 1 &2. (1997). 81-87.
Bosseur, Jean-Iyves. Sound and the Visual Arts: Intersections Between Music and Plastic
Arts Today. Paris: Dis Voir. 1993.
Bowcott, Peter. "Interfaces for Composition - What About the Composer?"
Contemporary Music Review. vol 15 Parts 3-4. (1996). 27-37.
Boutoux, Thomes, ed. Hans Ulrich Obrist: Interviews. Vol. 1. Milan: Edzioni Charta,
2003.
Braun, Hans-Joachim, ed. Music and Technology in the Twentieth Century. Baltimore
and London: The John Hopkins U.P., 2000.
Briscoe, James R., ed. Contemporary Anthology of Music by Women. Bloomington:
Indiana U.P., 1997.
Burns, Kristine H. "An Emerging Digital Community: The CD-ROM Artist," In
Organised Sound. Vol. 2, (1997): 13-18.
_____, ed. Women and Music in America Since 1900: An Encyclopedia. Vol. 1-
2, Westport: Greenwood Press, 2002.
Burton, Andrew. Madonna. New York: St. Martin’s Press, 2001.
Cage, John. Aria. New York: C.F. Peters Corporation, 1960.
_____. Radio Music. New York: Henmar Press, Inc., 1961.
Candy, Linda and Ernest Edmonds. Explorations in Art and Technology. London:
Springer-Verlag London, Ltd., 2002.
Cardew, Cornelius, ed. Scratch Music. London: Latimer New Dimensions, Ltd., 1972.
Carlson, Marvin. Performance: A Critical Introduction. 2nd ed. New York: Routledge
Taylor and Francis Group, 2004.
Carr, Cynthi. On Edge: Performance at the End of the Twentieth Century. Hanover:
Wesleyan U.P, 1993.
Carson, Fiona and Claire Pajaczkowska, eds. Feminist Visual Culture. Routledge:
Edinburgh U.P., 2001.
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle
River: Prentice Hall, 1997.
Chaplin, Sarah. “Cyberfeminism.” Feminist Visual Culture. Carson, Fiona and Clair
Pajaczkowska, eds., 270. Routledge: Edinburgh U.P., 1993.
Cook, Nicholas. Analysing Musical Multimedia. Oxford: Clarendon Press, 1998.
Cope, David. The Algorithmic Composer. Madison: A-R Editions, Inc., 2000.
_____. New Directions in Music. 7th ed. Prospect Heights: Waveland Press, Inc., 2001.
_____. Techniques of the Contemporary Composer. London: Schirmer Books, 1997.
Dodge, Charles and Thomas A. Jerse. Computer Music: Synthesis, Composition, and
Performance. 2nd ed. New York: Schirmer Books, 1997.
Duckworth, William, ed. Talking Music: Conversations with John Cage, Philip Glass,
Lauie Anderson, and Five Generations of American Experimental Composers. New
York: Da Capo Press, 1999.
Dusman, Linda. “No Bodies There: Absence and Presences in Acousmatic Performance.”
Musicand Gender. Moisala, Pirkko and Beverley Diamond, eds. 336-346.Urbana:
University of Illinois Press, 2000.
Elliot, Anthony. The Mourning of John Lennon. Berkeley: University of California
Press.1999.
Gaburo, Kenneth. Dante’s Joynte. ?:Lingua Press, 1976.
______. Twenty Sensing [Instruction] Compositions. ?:Lingua Press, 1976.
Goldberg, Roselee. Performance Art: From Futurism to the Present. New York: Harry N.
Abrams, Inc.,1988.
Goodman, Cynthia. Digital Visions: Computers and Art. New York: Harry N. Abrams,
Inc., 1987.
Graham, Rob. Theater: A Crash Course. New York: Watson-Guptill Publications, 1999.
Hall, Charles J. A Chronicle of American Music: 1700-1995. New York: Schirmer Books,
1996.
Halstead, Jill. The Woman Composer. Aldershot: Ashgate, 1997.
Hedges, Elaine and Ingrid Wendt. In Her Own Image: Women Working in the Arts. New
York: The Feminist Press, 1980.
Higgins, Dick. Horizons: The Poetics and Theory of the Intermedia. Carbondale:
Southern Illinois U.P., 1984.
Johnson, Deborah and Wendy Oliver, eds. Women Making Art: Women in the Visual and
Performing Arts since 1960. New York: Peter Lang Publishing Inc., 2001.
Lebrecht, Norman. Who Killed Classical Music?: Maestros, Managers, and Corporate
Politics. London: Carol Publishing Group Edition, 1997.
Le Page, Jane Weiner. Women Composers, Conductors, and Musicians of the Twentieth
Century: Selected Biographies. Metuchen: The Scarecrow Press, Inc., 1980.
Liestol, Gunnar, Andrew Morrison, and Terje Rasmussen, eds. Digital Media Revisited:
Theoretical and Conceptual Innovation in Digital Domains. Cambridge: The MIT
Press, 2003.
Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media.
2nd ed. Upper Saddle River: Simon & Schuster, 1997.
Lysoff, Rene’ T. and Leslie C. Gay, Jr., eds. Music and Technoculture. Middletown:
Wesleyen U.P., 2003.
MacArthur, Sally. Feminist Aesthetics in Music. Westport; Greenwood Press., 2002.0
McClary, Susan. Feminist Endings: Music, Gender, and Sexuality. Minneapolis:
University of Minnesota Press, 1991.
Miranda, Eduardo Reck and Francis Rumsey, ed. Composing with Computers. Oxford:
Focal Press, 2001.
Moisala, Pirkko and Beverley Diamond, eds. Music and Gender. Urbana: University of
Illinois Press, 2000.
Murphie, Andrew and Joh Potts. Culture & Technology.Houndmills: Palgrave
MacMillan, 2003.
Nicholls, David. American Experimental Music; 1890-1940. Cambridge: Cambridge
U.P., 1990.
Neuls-Bates, Carol, ed., "Marcia J. Cintron: Musicologist" Women in Music. Boston:
Northeastern University Press, 1996.
_____. "Nancy van de Vate." Women in Music. Boston: Northeastern University Press,
1996.
Nyman, Michael. Experimental Music: Cage and Beyond. 2nd ed. Cambridge:
Cambridge U.P., 1999.
Oliveros, Pauline. "Acoustic and Virtual Space as a Dynamic Element of Music."
Leonardo Music Journal: Journal of the International Society for the Arts, Sciences,
and Technology. vol. 5 (1995), 19-22.
_____ . Deep Listening Pieces. Kingston: Deep Listening Publications, 1990.
_____. Sonic Meditations. Smith Publications, 1974.
Paul, Christiane. Digital Art. New York: Thames & Hudson Inc., 2003.
Pendell, Karin, ed. Women & Music: A History. 2nd ed. Bloomington: Indiana U.P.,
2001.
Randall, Annie Janeiro. "Eyes on the Composition Prize." Contemporary Music Review.
vol. 16. Parts 1 &2. (1997). 105-111.
Ravenal, John B., ed. Outer & Inner Space: Pipilorri Rist, Shirin Neshat, Jane & Louise
Wilson, and the History of Video Art. Virginia Museum of Fine Arts. Richmond:
University of Washington Press, 2002.
Reich, Steve. Pendulum Music. London: Universal Edition, Ltd., 1980.
Read, Gardner. Pictographic Score Notation: A Compendium. Westport: Greenwood
Publishing Group, Inc., 1998.
Rollig, Stella, ed. Her: Video as a Female Terrain. New York: Springer Wein NewYork,
?.
Rosemont, Penelope, ed. Surrealist Women: An International Anthology. Austin:
University of Texas Press, 1998.
Rowe, Robert. Interactive Music Systems: Machine Listening and Composing.
Cambridge: The MIT Press, 1993.
Rush, Michael. New Media in the Late 20th Century. New York: Thames & Hudson Inc.,
1999.
Rzewski, Frederic. Les Moutons de Panurge. Tokyo: Zen-On Music Co., 1980.
Sawelson-Gorse, Naomi, ed. Women in Dada: Essays on Sex, Gender, and Identity.
Cambridge: The MIT Press, 1998.
Schimmel, Paul, ed. Out of Actions: Between Performance and the Object 1949-1979.
The Geffen Contemporary at the Museum of Contemporary Art. Los Angeles:Thames
and Hudson, 1998.
Schwartz, Elliot and Barney Childs with Jim Fox, eds. Contemporary Composers on
Contemporary Music, Expanded Edition. New York: De Capo Press, 1998.
Seashore, Carl E. "Why No Great Women Composers?" Music Educator’s Journal,
1940. Women in Music. Carol Neuls-Bates, ed. Boston: Northeastern University Press,
1996.
Sewell, Gilber T., ed. The Eighties: A Reader. Reading: Perseus Books, 1997.
Shapiro, Andrew. "Catching Up with Meredith Monk." 21rst Century Music. vol. 9.
Num. 5. (May 2002). 1-3.
Smyth, Ethel. "Female Pipings in Eden." Women in Music. Carol Neuls-Bates, ed.
Boston: Northeastern University Press, 1996.
Stolba, K. Marie. The Development of Western Music: A History. Vol. II. Dubuque:
McGraw Hill. 1990.
Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New
York: W.W. Norton and Co., 1980.
Thome, Diane. “Reflections on Collaborative Process and Compositional Revolution.”
Leonardo Music Journal: Journal of the International Society for the Arts, Sciences,
and Technology. vol. 5 (1995), 29-32.
Walker Art Center. Let’s Entertain Life’s Guilty Pleasures. Minneapolis: Walker Art
Center, 2000.
Warren, Alycin. Molly. 1997.
Whiting, John. "The Deconstructing of Society and the Restructuring of Art."
Contemporary Music Review. vol 15 Parts 3-4. (1996).71-76..
Zurbrugg, Nicholas, ed. Art, Performance , Media, 31 Interviews. Minneapolis:
University of Minneapolis Press, 2004.
SELECT ELECTRONIC SOURCES
Anderson, Laurie. Puppet Motel. CD-ROM. Paris: Gallimard, 1995.
_____. Laurie Anderson.Com. < http://www.laurieanderson.com/>, 07 11 2004.
Ars Electronica.. 9 23 04.
Art Interactive. “Rebecca Allen, Bush Soul #3.”
, 13 3 2004.
Barnett, Bekah. “Interview with Kim Baker.”
, Women in
Creative Music. 9 23 04.
“Biographies.”, Archived in
Ars Electronica., 13 3 2004.
Burns, Kristine H. “Biography.”
_____. “History of Electronic and Computer Music Including Automatic Instruments and
Composition Machines.”
, 14 3
04.
Byrd, Jeffrey. “Women in Performance Art.”
,
WOW/EM. 4 4 1998.
Carlos, Wendy. “Photo Archive.”,
1996-2000.
CDeMUSIC. “Pamela Z.”, Electronic Music
Foundation, Ltd., 2003.
Chipman, Michael. “Oberlin Portrait: Anna Rubin.”
, 14 9 2004.
Davies, Char. “Virtual Space.”, In SPACE in Science,
Art and Society. Francois Penz, Gregory Radick and Robert Howell, eds. pp. 69-104,
illus. Cambrideg: Cambridge University Press, 2004.
DeJong, Christin. “Judith Shatin,”
, 30 3 2004.
Dixon, Douglas. “Audio Tools for Video Editors.”
September 2004.
Duguld, Brian. “Review: Pauline Oliveros and David Gamper – At the Ijsbreker Jan 24
1999.”. The Wire. JDK Releases. 14 9
2004.
Gallerie DeLuxxe. “Allison Knowles.”
Gann, Kyle. “My Favorite Women Composers of All Time.”
, 30 3 2004.
_____. “Sex, Politics, Gazpacho.” < http:www.idiom.com/~barb/gannreview.html>, In
The Village Voice. January 9, 1996.
Gigliotti, Carol. “Women and the Aesthetics of New Media.”
, 20 June 2003.
Golden, Barbara., October 2004.
Hershmann, Lynn. “Cross-Dressing on the Internet.”
, 20 10 1995.
Hinkle-Turner, Elizabeth. Compiler. “Selected Discography of Women's Electro-acoustic
Music (Current Through Spring 2001).”
, 6 11 2003.
Lovely Little Records. “Maggi Payne.”, October
2004.
Lunch, Lydia. “Biography.”, 14 4 2004.
Malloy, Judy. “REPLY: Reshaping the Field – Women, Art, and Technology.”
, In [-
empyre-], 1 12 2003. Archived at
, 3 13 2004.
New Adventures in Sound Art. “Bios: Sarah Peebles.”
, 6 11 2003.
Oliveros, Pauline. “And Don’t Call Them Ladies.”
, In New York Times. 13
9 1970.
_____. “Pauline Oliveros Composer-Performer, Founder of Deep Listening.”
. Deep Listening.Org. 30 3 2004.
_____. “Tripping On Wires: The Wireless Body: Who is Improvising?” Rensselaer
Polytechnic Institute. 24 9 2004.
Pamela Z.”Bio.”, October 2004.
Peebles, Sara., October 2004.
Pengilly, Sylvia. “Sylvia Pengilly.”
Reighly, Kurt B and Wendy Carlos. “Vocoder Questions.”
, 1999.
Roberts, Mary Lee. “Being Around Brenda Hutchinson.”
. Mary Lee Roberts.
Shatin, Judith. “Electronic Composition.”
, WOW/EM.
Spiegel, Laurie. “Bell Labs and the Origins of the Multimedia Artist.” Panel Member
Biography., 13 3 2004.
The-Artists.Org. “Lynn Hershman.”
2004.
Thome, Diane. “Biography.”
Turner, J., “Unlocking the Clubhouse: Women in Computing.” Margolis, Jane and Allan
Fisher. Fine Arts Forum Art & Technology Net News. Vol. 16, Issue 2. February
2002. 15th Anniversary CD-ROM. Brisbane: FineArt Forum, 2002.
Video History Archive. “Carolee Schneemann.”
,
Resources@People., 13 3
2004.
_____. “Dara Birnbaum.”
,
Resources@People., 20 4
2004.
_____. “Joan Jonas.”
,
Resources@People., 20 4
2004.
_____. “Liz Phillips.”
,
Resources@People., 13 3
2004.
_____. “Pauline Oliveros.”
,
Resources@People., 13 3
2004.
_____. “Raymond and Megan Roberts Ghirado.”
,
Resources@People., 20 4
2004.
_____. “Steina Vasulka.”
,
Resources@People., 13 3
2004.
_____. “Valerie Soe.”
,
Resources@People., 13 3
2004.
Burns, Kristine. WOM/EM: Women on the the Web ElectronMedia.
SELECT BIBLIOGRAPY
Ahtila, Eija-Liisa, Vanessa Beecroft, Willie Doherty, Douglas Gordon, Aernout Mik,
Tony Oursler, Sam Samore, Georgiana Starr, and Gillian Wearing. ID: An
International Survey on the Notion of Identity in Contemporary Art. Eindhoven:
Stedelijk Van Abbemuseum, 1996.
Ammer, Christine. Unsung: A History of Women in American Music. Portland: Amadeus
Press, 2001.
Anderson, Laurie. The End of the Moon. Gusman Center for the Performing Arts, Miami,
23 October 2004.
Armstrong, Simon and Joan Rothfuss. In the Spirit of Fluxus. Walker Art Center,
Minneapolis, Minnesota, 1993.
Berberian, Cathy. Stripsody. New York: C.F. Peters Corporation, 1966.
Born, Georgina. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of
the Musical Avante-Garde. Berkeley, Los Angeles, London: University of California
Press, 1995.
Bortez, Benjamin and Edward T. Cone, eds. Perspectives on Contemporary Music
Theory. New York: W.W. Norton & Co. Inc., 1972.
Borchert, Gavin. "American Women in Electronic Music, 1984-1994." Contemporary
Music Review. vol. 16. Parts 1 & 2. (1997), 89-97.
Bosse, Joanna. "Creating Options, Creating Music; An Interview with Laurie Spiegel."
Contemporary Music Review. vol. 16. Parts 1 &2. (1997). 81-87.
Bosseur, Jean-Iyves. Sound and the Visual Arts: Intersections Between Music and Plastic
Arts Today. Paris: Dis Voir. 1993.
Bowcott, Peter. "Interfaces for Composition - What About the Composer?"
Contemporary Music Review. vol 15 Parts 3-4. (1996). 27-37.
Boutoux, Thomes, ed. Hans Ulrich Obrist: Interviews. Vol. 1. Milan: Edzioni Charta,
2003.
Braun, Hans-Joachim, ed. Music and Technology in the Twentieth Century. Baltimore
and London: The John Hopkins U.P., 2000.
Briscoe, James R., ed. Contemporary Anthology of Music by Women. Bloomington:
Indiana U.P., 1997.
Burns, Kristine H. "An Emerging Digital Community: The CD-ROM Artist," In
Organised Sound. Vol. 2, (1997): 13-18.
_____, ed. Women and Music in America Since 1900: An Encyclopedia. Vol. 1-
2, Westport: Greenwood Press, 2002.
Burton, Andrew. Madonna. New York: St. Martin’s Press, 2001.
Cage, John. Aria. New York: C.F. Peters Corporation, 1960.
_____. Radio Music. New York: Henmar Press, Inc., 1961.
Candy, Linda and Ernest Edmonds. Explorations in Art and Technology. London:
Springer-Verlag London, Ltd., 2002.
Cardew, Cornelius, ed. Scratch Music. London: Latimer New Dimensions, Ltd., 1972.
Carlson, Marvin. Performance: A Critical Introduction. 2nd ed. New York: Routledge
Taylor and Francis Group, 2004.
Carr, Cynthi. On Edge: Performance at the End of the Twentieth Century. Hanover:
Wesleyan U.P, 1993.
Carson, Fiona and Claire Pajaczkowska, eds. Feminist Visual Culture. Routledge:
Edinburgh U.P., 2001.
Chadabe, Joel. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle
River: Prentice Hall, 1997.
Chaplin, Sarah. “Cyberfeminism.” Feminist Visual Culture. Carson, Fiona and Clair
Pajaczkowska, eds., 270. Routledge: Edinburgh U.P., 1993.
Cook, Nicholas. Analysing Musical Multimedia. Oxford: Clarendon Press, 1998.
Cope, David. The Algorithmic Composer. Madison: A-R Editions, Inc., 2000.
_____. New Directions in Music. 7th ed. Prospect Heights: Waveland Press, Inc., 2001.
_____. Techniques of the Contemporary Composer. London: Schirmer Books, 1997.
Dodge, Charles and Thomas A. Jerse. Computer Music: Synthesis, Composition, and
Performance. 2nd ed. New York: Schirmer Books, 1997.
Duckworth, William, ed. Talking Music: Conversations with John Cage, Philip Glass,
Lauie Anderson, and Five Generations of American Experimental Composers. New
York: Da Capo Press, 1999.
Dusman, Linda. “No Bodies There: Absence and Presences in Acousmatic Performance.”
Musicand Gender. Moisala, Pirkko and Beverley Diamond, eds. 336-346.Urbana:
University of Illinois Press, 2000.
Elliot, Anthony. The Mourning of John Lennon. Berkeley: University of California
Press.1999.
Gaburo, Kenneth. Dante’s Joynte. ?:Lingua Press, 1976.
______. Twenty Sensing [Instruction] Compositions. ?:Lingua Press, 1976.
Goldberg, Roselee. Performance Art: From Futurism to the Present. New York: Harry N.
Abrams, Inc.,1988.
Goodman, Cynthia. Digital Visions: Computers and Art. New York: Harry N. Abrams,
Inc., 1987.
Graham, Rob. Theater: A Crash Course. New York: Watson-Guptill Publications, 1999.
Hall, Charles J. A Chronicle of American Music: 1700-1995. New York: Schirmer Books,
1996.
Halstead, Jill. The Woman Composer. Aldershot: Ashgate, 1997.
Hedges, Elaine and Ingrid Wendt. In Her Own Image: Women Working in the Arts. New
York: The Feminist Press, 1980.
Higgins, Dick. Horizons: The Poetics and Theory of the Intermedia. Carbondale:
Southern Illinois U.P., 1984.
Johnson, Deborah and Wendy Oliver, eds. Women Making Art: Women in the Visual and
Performing Arts since 1960. New York: Peter Lang Publishing Inc., 2001.
Lebrecht, Norman. Who Killed Classical Music?: Maestros, Managers, and Corporate
Politics. London: Carol Publishing Group Edition, 1997.
Le Page, Jane Weiner. Women Composers, Conductors, and Musicians of the Twentieth
Century: Selected Biographies. Metuchen: The Scarecrow Press, Inc., 1980.
Liestol, Gunnar, Andrew Morrison, and Terje Rasmussen, eds. Digital Media Revisited:
Theoretical and Conceptual Innovation in Digital Domains. Cambridge: The MIT
Press, 2003.
Lovejoy, Margot. Postmodern Currents: Art and Artists in the Age of Electronic Media.
2nd ed. Upper Saddle River: Simon & Schuster, 1997.
Lysoff, Rene’ T. and Leslie C. Gay, Jr., eds. Music and Technoculture. Middletown:
Wesleyen U.P., 2003.
MacArthur, Sally. Feminist Aesthetics in Music. Westport; Greenwood Press., 2002.0
McClary, Susan. Feminist Endings: Music, Gender, and Sexuality. Minneapolis:
University of Minnesota Press, 1991.
Miranda, Eduardo Reck and Francis Rumsey, ed. Composing with Computers. Oxford:
Focal Press, 2001.
Moisala, Pirkko and Beverley Diamond, eds. Music and Gender. Urbana: University of
Illinois Press, 2000.
Murphie, Andrew and Joh Potts. Culture & Technology.Houndmills: Palgrave
MacMillan, 2003.
Nicholls, David. American Experimental Music; 1890-1940. Cambridge: Cambridge
U.P., 1990.
Neuls-Bates, Carol, ed., "Marcia J. Cintron: Musicologist" Women in Music. Boston:
Northeastern University Press, 1996.
_____. "Nancy van de Vate." Women in Music. Boston: Northeastern University Press,
1996.
Nyman, Michael. Experimental Music: Cage and Beyond. 2nd ed. Cambridge:
Cambridge U.P., 1999.
Oliveros, Pauline. "Acoustic and Virtual Space as a Dynamic Element of Music."
Leonardo Music Journal: Journal of the International Society for the Arts, Sciences,
and Technology. vol. 5 (1995), 19-22.
_____ . Deep Listening Pieces. Kingston: Deep Listening Publications, 1990.
_____. Sonic Meditations. Smith Publications, 1974.
Paul, Christiane. Digital Art. New York: Thames & Hudson Inc., 2003.
Pendell, Karin, ed. Women & Music: A History. 2nd ed. Bloomington: Indiana U.P.,
2001.
Randall, Annie Janeiro. "Eyes on the Composition Prize." Contemporary Music Review.
vol. 16. Parts 1 &2. (1997). 105-111.
Ravenal, John B., ed. Outer & Inner Space: Pipilorri Rist, Shirin Neshat, Jane & Louise
Wilson, and the History of Video Art. Virginia Museum of Fine Arts. Richmond:
University of Washington Press, 2002.
Reich, Steve. Pendulum Music. London: Universal Edition, Ltd., 1980.
Read, Gardner. Pictographic Score Notation: A Compendium. Westport: Greenwood
Publishing Group, Inc., 1998.
Rollig, Stella, ed. Her: Video as a Female Terrain. New York: Springer Wein NewYork,
?.
Rosemont, Penelope, ed. Surrealist Women: An International Anthology. Austin:
University of Texas Press, 1998.
Rowe, Robert. Interactive Music Systems: Machine Listening and Composing.
Cambridge: The MIT Press, 1993.
Rush, Michael. New Media in the Late 20th Century. New York: Thames & Hudson Inc.,
1999.
Rzewski, Frederic. Les Moutons de Panurge. Tokyo: Zen-On Music Co., 1980.
Sawelson-Gorse, Naomi, ed. Women in Dada: Essays on Sex, Gender, and Identity.
Cambridge: The MIT Press, 1998.
Schimmel, Paul, ed. Out of Actions: Between Performance and the Object 1949-1979.
The Geffen Contemporary at the Museum of Contemporary Art. Los Angeles:Thames
and Hudson, 1998.
Schwartz, Elliot and Barney Childs with Jim Fox, eds. Contemporary Composers on
Contemporary Music, Expanded Edition. New York: De Capo Press, 1998.
Seashore, Carl E. "Why No Great Women Composers?" Music Educator’s Journal,
1940. Women in Music. Carol Neuls-Bates, ed. Boston: Northeastern University Press,
1996.
Sewell, Gilber T., ed. The Eighties: A Reader. Reading: Perseus Books, 1997.
Shapiro, Andrew. "Catching Up with Meredith Monk." 21rst Century Music. vol. 9.
Num. 5. (May 2002). 1-3.
Smyth, Ethel. "Female Pipings in Eden." Women in Music. Carol Neuls-Bates, ed.
Boston: Northeastern University Press, 1996.
Stolba, K. Marie. The Development of Western Music: A History. Vol. II. Dubuque:
McGraw Hill. 1990.
Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New
York: W.W. Norton and Co., 1980.
Thome, Diane. “Reflections on Collaborative Process and Compositional Revolution.”
Leonardo Music Journal: Journal of the International Society for the Arts, Sciences,
and Technology. vol. 5 (1995), 29-32.
Walker Art Center. Let’s Entertain Life’s Guilty Pleasures. Minneapolis: Walker Art
Center, 2000.
Warren, Alycin. Molly. 1997.
Whiting, John. "The Deconstructing of Society and the Restructuring of Art."
Contemporary Music Review. vol 15 Parts 3-4. (1996).71-76..
Zurbrugg, Nicholas, ed. Art, Performance , Media, 31 Interviews. Minneapolis:
University of Minneapolis Press, 2004.
SELECT ELECTRONIC SOURCES
Anderson, Laurie. Puppet Motel. CD-ROM. Paris: Gallimard, 1995.
_____. Laurie Anderson.Com. < http://www.laurieanderson.com/>, 07 11 2004.
Ars Electronica.
Art Interactive. “Rebecca Allen, Bush Soul #3.”
Barnett, Bekah. “Interview with Kim Baker.”
Creative Music. 9 23 04.
“Biographies.”
Ars Electronica.
Burns, Kristine H. “Biography.”
_____. “History of Electronic and Computer Music Including Automatic Instruments and
Composition Machines.”
04.
Byrd, Jeffrey. “Women in Performance Art.”
WOW/EM. 4 4 1998.
Carlos, Wendy. “Photo Archive.”
1996-2000.
CDeMUSIC. “Pamela Z.”
Foundation, Ltd., 2003.
Chipman, Michael. “Oberlin Portrait: Anna Rubin.”
Davies, Char. “Virtual Space.”
Art and Society. Francois Penz, Gregory Radick and Robert Howell, eds. pp. 69-104,
illus. Cambrideg: Cambridge University Press, 2004.
DeJong, Christin. “Judith Shatin,”
Dixon, Douglas. “Audio Tools for Video Editors.”
September 2004.
Duguld, Brian. “Review: Pauline Oliveros and David Gamper – At the Ijsbreker Jan 24
1999.”
2004.
Gallerie DeLuxxe. “Allison Knowles.”
Gann, Kyle. “My Favorite Women Composers of All Time.”
_____. “Sex, Politics, Gazpacho.” < http:www.idiom.com/~barb/gannreview.html>, In
The Village Voice. January 9, 1996.
Gigliotti, Carol. “Women and the Aesthetics of New Media.”
Golden, Barbara.
Hershmann, Lynn. “Cross-Dressing on the Internet.”
Hinkle-Turner, Elizabeth. Compiler. “Selected Discography of Women's Electro-acoustic
Music (Current Through Spring 2001).”
Lovely Little Records. “Maggi Payne.”
2004.
Lunch, Lydia. “Biography.”
Malloy, Judy. “REPLY: Reshaping the Field – Women, Art, and Technology.”
empyre-], 1 12 2003. Archived at
New Adventures in Sound Art. “Bios: Sarah Peebles.”
Oliveros, Pauline. “And Don’t Call Them Ladies.”
9 1970.
_____. “Pauline Oliveros Composer-Performer, Founder of Deep Listening.”
_____. “Tripping On Wires: The Wireless Body: Who is Improvising?” Rensselaer
Polytechnic Institute. 24 9 2004.
Pamela Z.”Bio.”
Peebles, Sara.
Pengilly, Sylvia. “Sylvia Pengilly.”
Reighly, Kurt B and Wendy Carlos. “Vocoder Questions.”
Roberts, Mary Lee. “Being Around Brenda Hutchinson.”
Shatin, Judith. “Electronic Composition.”
Spiegel, Laurie. “Bell Labs and the Origins of the Multimedia Artist.” Panel Member
Biography.
The-Artists.Org. “Lynn Hershman.”
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- Clare Shore