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.
Hendes navn er stadig langt fra lige så kendt uden for Danmarks grænser som hendes jævnaldrende mandlige samtidige – eller de kvindelige komponister, der oftere og hyppigere optræder i koncertprogrammer som følge af en stigende interesse for genvundne fortællinger om kvinder, der har komponeret elektronisk musik siden 1950'erne. I år ville Else Marie Pade være fyldt 100 år.
War, refugees, and destruction are inescapable at the Venice Biennale. You can feel it, see it, hear it – it's all-encompassing. Has Venice ever been this filled with sound?
Krig, flygtninge og ødelæggelse er uundgåelige på Venedig Biennalen. Det kan føles, ses, høres og omslutter os totalt. Har der nogensinde været så meget lyd i Venedig?
Democratic conversation and collectively improvised music have such pronounced similarities that improvisations can be discussed in terms of their democratic potentiality.
How do we talk about musical colonisation? How do we talk about this work of talking about it; that is, interrogating what we mean by colonisation and its counter-logic of decolonisation or decoloniality?