scholarly journals Finger Exercises for Oscillators: István Anhalt on Electronic Music1

2009 ◽  
Vol 19 (3) ◽  
pp. 77-84
Author(s):  
Matt Rogalsky
Keyword(s):  
Music Education ◽  
Electronic Music ◽  
Research Council ◽  
National Research Council ◽  
Electroacoustic Music ◽  
Synthesis Techniques ◽  
Early Experiences ◽  
Digital Synthesis ◽  
The 1950S

Abstract In conversation with Matt Rogalsky, composer István Anhalt discusses his association with Hugh Le Caine and the National Research Council laboratories in the 1950s, the founding of the electronic music studio at McGill, and his early experiences learning tape music and analog and digital synthesis techniques. The composer describes his early electronic works, the use of electroacoustic elements in his later music, and the importance of electroacoustic music in music education.

Women and ‘Kraakgeluiden’: the participation of women improvisers in the Dutch electronic music scene

2004 ◽  
Vol 9 (2) ◽  
pp. 199-206 ◽  
Author(s):  
HELEN METZELAAR
Keyword(s):  
Music Education ◽  
Gender Discrimination ◽  
Electronic Music ◽  
Gender Norms ◽  
Women Performers ◽  
Electroacoustic Music ◽  
Music Technology ◽  
Complex Issue ◽  
Music Improvisation ◽  
Participation Of Women

The field of electroacoustic improvisation in the Netherlands is largely male dominated. Flutist, improviser and composer Anne La Berge signalled this and other problems related to gender in ‘Kraakgeluiden’, a Dutch venue for improvisation in electroacoustic music. Four possible factors contributing to gender discrimination are proposed: the stereotypical gendered concept of an improviser, differences in communicative styles, the dominance of male networks, and music technology itself. This is followed by a consideration of gendered differences in music improvisation. It is posited that male improvisers often seek to establish a hierarchy among themselves, while women performers tend to project themselves less to the forefront. Women improvisers may traditionally have a different sense of autonomy, in adherence to gender norms. While music education might offer a means to change behaviour patterns, it appears that these gender norms are internalised at a surprisingly young age. While concentrating on electroacoustic improvisation, this essay also includes relevant experiences of other improvisers. Gender discrimination in electroacoustic music improvisation is a complex issue deserving more research.

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