ABSTRACT
108. Barkin, Elaine, and Lydia Hamessley, eds. audible traces: gender, identity, and music. Zurich and Los Angeles: Carciofoli Yerlagshaus, 1999. xxix, 358 pp., plus a CD. ISBN 3-905323-00-1, cloth; 3-905323-01-X, paper. A collection of twelve essays with an introduction and a composition, "music/consciousness/gender," for live speaker and prerecorded speakers, music, and images on audio and videotape. This last is by Benjamin Boretz and is presented on the CD that accompanies the volume. Essays deal with aspects of feminist musicological methods, music theory, performance, composers and compositions, voices, and attitudes. The editors, Barkin (a composer) and Hamessley (a musicologist), bring varying perspectives to their tasks, as the latter remarks: "Audible traces of identities permeate this collection ..." (xxvii). The opening segment consists of a composers' round-table, with contributions from Elizabeth Hinkle-Turner, Mary Lee Roberts, Carla Scaletti, Anna Rubin, Vivian Adelberg Rudow, Susan Parenti, Mara Helmuth, and Catherine Schieve. Each of these composers, all of whom write using mixed media, languages, or electroacoustic systems, speaks separately on her approach to composition. The remaining prose contributions will be annotated separately.
