{"product_id":"sex-sounds-isbn-9780262045193","title":"Sex Sounds","description":"\u003cb\u003eAn investigation of sexual themes in electronic music since the 1950s, with detailed case studies of “electrosexual music” by a wide range of creators.\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn \u003ci\u003eSex Sounds\u003c\/i\u003e, Danielle Shlomit Sofer investigates the repeated focus on sexual themes in electronic music since the 1950s. Debunking electronic music’s origin myth—that it emerged in France and Germany, invented by Pierre Schaeffer and Karlheinz Stockhausen, respectively—Sofer defines electronic music more inclusively to mean any music with an electronic component, drawing connections between academic institutions, radio studios, experimental music practice, hip-hop production, and histories of independent and commercial popular music. Through a broad array of detailed case studies—examining music that ranges from Schaeffer’s \u003ci\u003emusique concrète\u003c\/i\u003e to a video workshop by Annie Sprinkle—Sofer offers a groundbreaking look at the social and cultural impact sex has had on audible creative practices.\u003cbr\u003e \u003cbr\u003eSofer argues that “electrosexual music” has two central characteristics: the feminized voice and the “climax mechanism.” Sofer traces the historical fascination with electrified sex sounds, showing that works representing women’s presumed sexual experience operate according to masculinist heterosexual tropes, and presenting examples that typify the electroacoustic sexual canon. Noting electronic music history’s exclusion of works created by women, people of color, women of color, and, in particular Black artists, Sofer then analyzes musical examples that depart from and disrupt the electroacoustic norms, showing how even those that resist the norms sometimes reinforce them. These examples are drawn from categories of music that developed in parallel with conventional electroacoustic music, separated—segregated—from it. Sofer demonstrates that electrosexual music is far more representative than the typically presented electroacoustic canon.\u003cbr\u003e Acknowledgments vii\u003cbr\u003eIntroduction xi\u003cbr\u003eI Electroacoustics of the Feminized Voice 1\u003cbr\u003e1 Schaeffer and Henry's \"Erotica\" (1950-1951) 3\u003cbr\u003e2 Annea Lockwood's \u003ci\u003eTiger Balm \u003c\/i\u003e(1970) 23\u003cbr\u003e3 Luc Ferrari's \u003ci\u003eLes Danses Organiques \u003c\/i\u003e(1973) and \u003ci\u003ePresque Rien Avec Filles \u003c\/i\u003e(1989) 35\u003cbr\u003e4 Robert Normandeau's \u003ci\u003eJeu De Langues \u003c\/i\u003e(2009) 57\u003cbr\u003e5 Juliana Hodkinson and Niels Ronsholdt's \u003ci\u003eFish \u0026amp; Fowl \u003c\/i\u003e(2011-2012) 69\u003cbr\u003eII Electrosexual Disturbance 89\u003cbr\u003e6 Donna Summer's \"Love to Love You Baby\" (1975) 105\u003cbr\u003e7 Alice Shield's \u003ci\u003eApocalypse \u003c\/i\u003e(1990-1994) 125\u003cbr\u003e8 Annie Sprinkle's \u003ci\u003eSluts \u0026amp; Goddesses \u003c\/i\u003eVideo Workshop, Sound Score by Pauline Oliveros (1992) 163\u003cbr\u003e9 Barry Truax's \u003ci\u003eSong of Songs \u003c\/i\u003e(1992) 177\u003cbr\u003e10 TLC's \"I'm Good at Being Bad\" (1999) 199\u003cbr\u003e11 Janelle Monae's \"It's Code\" (2013) 233\u003cbr\u003e12 The Wobble Warp: THEESatisfaction's \"Enchantruss\" (2012), Janelle Monae and Esperanza Spalding's \"Dorothy Dandridge Eyes\" (2013), and Stas THEE Boss's \"Before Anyone Else\" (2017) 247\u003cbr\u003eConclusion 267\u003cbr\u003eAppendix A: Alice Shields, \u003ci\u003eApocalypse, \u003c\/i\u003eTrack List 275\u003cbr\u003eAppendix B: Works Incorporated in \u003ci\u003eFish \u0026amp; Fowl \u003c\/i\u003eListed with Instrumentation and Approximate Duration, and Organized Chronologically 279\u003cbr\u003eNotes 281\u003cbr\u003eBibliography 329\u003cbr\u003eIndex 353“Sofer's work is exemplary... What Sofer offers us in \u003ci\u003eSex Sounds \u003c\/i\u003ehas profound implications for affect theory and the question of affective politics.”\u003cbr\u003e\u003cb\u003e\u003ci\u003e—Journal of Extreme Anthropology\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e“Using theory and musicology, the author's critical position highlights the initial lack of any ethical rules for recording and acknowledging of women's voices and the slow progress in reclaiming women's right to first determine and then use these sound profiles in their own way, regardless of gender and style.”\u003cbr\u003e\u003cb\u003e\u003ci\u003e—Neural\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e“Danielle Shlomit Sofer's \u003ci\u003eSex Sounds\u003c\/i\u003e sets the reader on the hunt for things missing in most discussions of electronic music: sex, sexuality, libidinal drive. Guided by Sofer, once we start looking for the missing element of sex in electronic music, we begin to see it everywhere.”\u003cbr\u003e\u003cb\u003e\u003ci\u003e—Music Works\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e“Feminist music theory 2.0… \u003ci\u003eSex Sounds\u003c\/i\u003e is both a valuable contribution to gender and sexuality studies of music and a provocation for a different kind of music theory.”\u003cbr\u003e\u003cb\u003e\u003ci\u003e—Music Analysis\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e“Readers interested in how race, gender, and sexuality are expressed in electronic musical forms… will find \u003ci\u003eSex Sounds\u003c\/i\u003e a rich [and] insightful book.”\u003cbr\u003e\u003cb\u003e—\u003ci\u003eTechnology and Culture\u003c\/i\u003e\u003c\/b\u003e“Compulsively readable, \u003cu\u003eSex Sounds\u003c\/u\u003e deftly explores what we’ve always taken for granted but never paused to consider in so much historical and technological richness: why exactly is music sexy? It’s a tremendous achievement.”\u003cbr\u003e \u003cb\u003e—Karen Tongson, author of \u003ci\u003eWhy Karen Carpenter Matters\u003c\/i\u003e and \u003ci\u003eRelocations: Queer Suburban Imaginaries\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e “Using a range of fascinating case studies, Sofer introduces the reader to minority voices that have hitherto been excluded. Admirably, this book demands a full-blown reappraisal of the electroacoustic canon and its masculinist, heteronormative tropes.”\u003cbr\u003e \u003cb\u003e—Stan Hawkins, Professor of Musicology, University of Oslo; author of \u003ci\u003eSettling the Pop Score, The British Pop Dandy,\u003c\/i\u003e and \u003ci\u003eQueerness in Pop Music\u003cbr\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e“Groundbreaking and important.”\u003cbr\u003e\u003cb\u003e—Barry Truax, Professor Emeritus, Simon Fraser University\u003c\/b\u003eDanielle Shlomit Sofer is a music theorist and musicologist and cofounded the LGBTQ+ Music Study Group.\u003cbr\u003e ","brand":"The MIT Press","offers":[{"title":"Default Title","offer_id":46303967740133,"sku":"NP9780262045193","price":40.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780262045193.jpg?v=1767736407","url":"https:\/\/k12savings.com\/es\/products\/sex-sounds-isbn-9780262045193","provider":"K12savings","version":"1.0","type":"link"}