ABSTRACT
The world of electronic music has been dominated by male composers and artists from its origins in the 1930s up until relatively recently. Thanks to improved scholarship, media coverage, and activism by women’s electronic music networks, the rapidly growing contributions of women now enjoy greater recognition. What remains underresearched is what creators and consumers believe about the capacity of new sound and music technologies to mediate the perceived other-or inner-worldly, and to do spiritual in addition to cultural and political work. Drawing on a selection of pioneering women artists, influenced by Asian religiosities, I argue that the field of avant-garde electronic music leads us into new territories that are significant for today’s religion scholars.
