![Sample our Arts journals, sign in here to start your access, latest two volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/110799/TOC-Subject-Sample-2021-Arts.jpg"})
Notes
2. For another critique of uncritical repetition of a seminal analog synthesiser, see Kurt Werner (Citation2015).
3. For more on gender and synthesiser performance, see Theo Cateforis (Citation2011, 151–181), Kay Dickinson (Citation2001), Hannah Bosma (Citation2003), and Judith Peraino (Citation2014).
4. Emily Dolan makes a similar argument that scientific testing of instruments involves aesthetic discourse. See Emily I. Dolan (Citationforthcoming).
6. Ibid.
7. Ibid.
8. Ibid.
Additional information
Notes on contributors
Clara Latham
Composer and musicologist Clara Latham is Assistant Professor of Music Technology at Eugene Lang College. Her research focuses on the relationship between sound, technology, sexuality, and the body. She has published articles in the journals Women & Music, Contemporary Modern European History, and the Opera Quarterly. Her opera about the birth of psychoanalysis, Bertha the Mom, was supported by the American Composers Forum and premiered at Roulette Intermedium in 2018. Her dissertation “Listening to the Talking Cure: Sound and Voice in Psychoanalysis” studies the resonances of music theory and speech physiology in the emergence of the talking cure at the end of the 19th Century. Before joining the faculty at the New School, Clara taught at MIT, Harvard, and Dartmouth.