Feminist readings of 20th-century electronic music history cannot avoid questioning the notion of canon and canon-oriented historiographical practices. Shedding light on women composers from non-Western contexts can further come in handy in searching for ways to engage with the history of gender in music beyond mainstreaming and the rhetoric of exceptionalism.

»En fascinerende historie om kvinder, der hørte radikale lyde i deres hoveder, indfangede lyden af en elektrificeret verden og så teknologien som en befrier«.