Music Theory Online

The Online Journal of the Society for Music Theory


Volume 6, Number 2,  May 2000
Copyright � 2000 Society for Music Theory

Table of Contents MTO Home SMT Home  

New Books


Carciofoli, Elaine Barkin & Lydia Hamessley, eds. Audible Traces: Gender, Identity, and Music.


Audible Traces: Gender, Identity, and Music
Edited by Elaine Barkin & Lydia Hamessley
Carciofoli Verlagshaus, Zurich, Switzerland

In recent years, new fields of inquiry in music have blossomed, some more controversial and inflammatory than others, some overtly veering from the traditional affairs of the Academy. Among the variety of questions raised are those that explore the differences between "who we are," "what we do," and "how/what we experience." Such inquiry reflects our desire to discover the ways in which we identify with our music and the ways in which the music we make, listen to, and talk about identifies us. Going beyond singular investigations of history, theory, gender, race, or culture, the contributors to Audible Traces complicate matters. They examine the ways that our supposed self-identity--gender, race, sexuality, sexual orientation, and ethnicity--intersects with our activities and our experiences. Their concerns also include dance, technology, societal forces, cognitive studies, poetry, fashion, sensory inputs, and politics. In a mosaic of approaches and viewpoints composers, musicologists, performers, ethnomusicologists, theorists of music and of literature, suggest and reveal traces of the ways that these complex matrices of identity affect us during the compositional, listening, or performing experience.

The range of composers, performers, and genres includes: Joan Armatrading, Alban Berg, George Bizet, Blues, Francesca Caccini, Irene Castle, Chinese Opera, Rebecca Clarke, John Coltrane, Dance, Disco, Jimi Hendrix, Indigo Girls, Candye Kane, Gustav Mahler, Opera, Pauline Oliveros, Punk, Riot Grrls, Eddie Vedder, Richard Wagner, The Weather Girls; and a group of active composers talk about their work.

In the forum Composing Women: Mara Helmuth, Elizabeth Hinkle-Turner, Susan Parenti, Mary Lee Roberts, Anna Rubin, Vivian Adelberg Rudow, Carla Scaletti, Catherine Schieve.

Contributors: Suzanne G. Cusick, Martha Mockus, Marianne Kielian-Gilbert, Ellie Hisama, Peter Rabinowitz, Su Zheng, Susan Cook, Mitchell Morris, Judy Lochhead, Renee Coulombe, Elaine Barkin, Benjamin Boretz.

388 pp. (acid-free paper), 13 illus., 20 music exs. Includes a CD of a performance of Benjamin Boretz's "music/consciousness/gender."

Price: US$59, Hbk: ISBN 3-905323-00-1 US$39, Pbk: ISBN 3-905323-01-X

Contact information

United States of America and Canada: Theodore Front Musical Literature, Inc. 16122 Cohasset St. Van Nuys, CA 91406 U.S.A. tel: +1 818-994-1902 fax: +1 818-994-0419

United Kingdom: Rosemary Dooley Crag House, Witherslack, Grange-over-Sands Cumbria LA116RW England tel: +44 015395 52286 fax: +44 015395 52013

Elsewhere: Carciofoli Verlagshaus P. O. Box 3176 8049 Zurich Switzerland fax: +33 388 23 68 51

Return to Menu

Copyright Statement

[1] Music Theory Online (MTO) as a whole is Copyright � 1999, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in MTO are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.

[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:

This item appeared in Music Theory Online in [VOLUME #, ISSUE #] in [MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.

[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.

This page prepared by
Michael Toler, Editorial Assistant
November 14, 2002