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Notes
1 Schafer, “The Soundscape,” 103.
2 Kane, “Musicophobia”; Sterne, “Sonic Imaginations,” 9.
3 Haslanger, Resisting Reality,184.
4 Ibid., 207.
5 Sterne, “Sonic Imaginations,” 9.
6 Chow and Steintrager, “In Pursuit of Sound,” 2.
7 Born, “Music, sound and space,” 6. See Feld, “Waterfalls of song” and Erlmann, Reason and Resonance. Erlmann himself specifically refers to Sterne’s litany.
8 I do not differentiate between hearing and listening in this essay, though I recognize that in most discourses they should be.
9 Maus, “Masculine Discourse,” 267.
10 Jay, Downcast Eyes, 498.
11 Carson, Glass, Irony and God.
12 Bloechl, “The Vulnerability of the Ear.”
13 I use Haslanger’s voice as the authority on gender because the language she uses to describe how power functions hierarchically between the social kinds men and women lends itself well to describing other hierarchical social kinds – such as those defined by race (also see Haslanger) and disability (see Barnes). The gendered dynamics of social power are (of course) not universally applicable to other imbalances of social power, but Haslanger’s model is a useful tool with which to start these other conversations.
14 The differences between sex and gender are beyond the scope of this essay, but deserve acknowledgement. I do not mean to essentialize them by exclusion.
15 Haslanger, Resisting Reality, 39.
16 Ibid., 42.
17 Throughout this discussion all the characterizations I make of gender norms in traditional Western society are biased towards privileged white social contexts.
18 Maus, “Masculine Discourse,” 271.
19 The lettering system is my own.
20 Sterne, “Sonic Imaginations,” 9.
21 Kulish and Holtzman, “Femininity and the Oedipus complex,” 37.
22 Haslanger, Resisting Reality, 184.
23 Again, my characterizations of masculinity and femininity are biased towards privileged white social contexts. What might the stakes in the double perceptual-gender dualism be for those who are not protected by the privileges of whiteness?
24 Haslanger, Resisting Reality, 346.
25 James Lavender, in email correspondence with the author, questions whether or not such a ‘focus on notation’ is a possible ‘explanation for the relatively belated nature of “sound studies” That is, the innovation of sound studies is to prioritise sonic experience rather than the visual fixity of the score (this is a point Aden Evens makes in Sound Ideas).’ This is a point for a discussion that deserves further investigation.
26 Kane, “L’objet Sonore Maintenant,” 22.
27 Kane, “Jean-Luc Nancy and the Listening Subject,” 441.
28 I am by no means saying that all interpreters of Schaeffer’s theories understand reduced listening as masculine. For example, Annea Lockwood adopted the Schaefferian concept of “sounds themselves” (via John Cage) as the foundation for her feminist theory of non-hierarchical formal structures in sonic art.
29 McCartney, “Gender,” 20, 22.
30 Oliveros, Software for People.
31 Mockus, Sounding out, 10.
32 Oliveros, Software for People, 149.
33 Ibid., 156.
34 http://paulineoliveros.us/about.html
35 Rodgers, “Toward a Feminist Historiography of Electronic Music,” 479.
36 See Nancy, Listening.
37 Nancy, Listening, 7.
38 Kane, “Jean-Luc Nancy and the Listening Subject,” 445.
39 Nancy, Listening, 45.
40 For more inspiration towards this question see Hosek and Freeman’s and Erlmann’s discussions of subjectivation in “Osmetic Ontogenesis” and Reason and Resonance, respectively.
Additional information
Notes on contributors
Rachel Devorah
Rachel Devorah is an American sonic artist living in Paris whose research explores context-specific practices as sites of feminist resistance and reimagining. Her creative work has been heard at places such as the International SuperCollider Symposium (USA), Pioneer Works (USA), La Fabrique Nantes (France), the Music for People and Thingamajigs Festival (USA); has been performed by artists such as JACK quartet, Fred Frith, orkest de ereprijs; and has been supported by residencies at Røst (Norway), MoKS (Estonia), and STEIM (Netherlands). Please see http://racheldevorah.studio for more information. Email: [email protected]