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14 - Vibrations

Women in Sound Art, 1980–2000

from Part IV - Women Composers circa 1880–2000

Published online by Cambridge University Press:  23 May 2024

Matthew Head
Affiliation:
King's College London
Susan Wollenberg
Affiliation:
University of Oxford
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Summary

From 31 October to 12 December 2015, Rumpsti Pumsti, a record store in Berlin devoted to experimental music and sound art, hosted an exhibition of early works by the German artist Christina Kubisch (b. 1948), one of the world’s foremost sound artists. The Vibrations exhibition focused on a series of works titled Dirty Electronics that Kubisch created between 1975 and 1980 in which she paired orchestral instruments with vibrators. On the floor were four wooden boxes each holding one flute and one vibrator, creating a jittery, buzzing flute quartet. Mounted on one wall was a photograph of a cello with a vibrator held to its strings. On another were technical diagrams. Kubisch, best known for her works with electronics, had produced intricately detailed diagrams of how to construct and use vibrators in various musical settings.

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Chapter
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Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Born, Georgina, and Devine, Kyle. ‘Introduction. Gender, Creativity and Education in Digital Musics and Sound Art’, Contemporary Music Review, 35/1 (2016), 120.CrossRefGoogle Scholar
Cimini, Amy and Dietz, Bill, eds. Maryanne Amacher: Selected Writings and Interviews (Brooklyn, NY: Blank Forms, 2020).Google Scholar
Dunaway, Judy. ‘The Forgotten 1979 MoMA Sound Art Exhibition’, Resonance: The Journal of Sound and Culture, 1/1 (2020), 2546.CrossRefGoogle Scholar
Lewis, George E.The Virtual Discourses of Pamela Z’, Journal of the Society for American Music, 1/1 (2007), 5777.CrossRefGoogle Scholar
Ono, Yoko. Grapefruit: A Book of Instruction and Drawings (New York: Simon and Schuster, 2000).Google Scholar
Rogers, Tara. Pink Noises: Women on Electronic Music and Sound (Durham, NC: Duke University Press, 2010).Google Scholar
Thompson, Marie. ‘Feminised Noise and the “Dotted Line” of Sonic Experimentalism’, Contemporary Music Review, 35/1 (2016), 85101.CrossRefGoogle Scholar

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