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dc.contributor.authorEmmerson, Simonen
dc.date.accessioned2016-08-01T14:57:39Z
dc.date.available2016-08-01T14:57:39Z
dc.date.issued2016-07-04
dc.identifier.citationEmmerson, S. (2016) EMAS and Sonic Arts Network (1979–2004): Gender, Governance, Policies, Practice. Contemporary Music Review, 35 (1), pp. 21-31en
dc.identifier.issn0749-4467
dc.identifier.issn1477-2256
dc.identifier.urihttp://hdl.handle.net/2086/12400
dc.description.abstractThis article is based on an examination of the minutes of the Committee/Board and annual general meetings of the Electro-Acoustic Music Association of Great Britain and its successor organisation, Sonic Arts Network, in the period 1979–2004, as well as other supporting documentation. It looks at the ebb and flow of gender constitution. There was a remarkable year or two in the 1990s when gender balance was almost within sight; but then the conditions fostering this period of potential gender balance seem to have dissipated. I reflect on this history, asking related questions: how was the changing gender balance reflected in the commissioning of works and curation of CDs? How were ‘equal opportunities’ issues addressed by the Board as they became more explicit? And how successfully?en
dc.language.isoenen
dc.publisherRoutledgeen
dc.subjectgenderen
dc.subjectEMASen
dc.subjectSonic Arts Networken
dc.subjectelectroacoustic musicen
dc.subjectmusic technologyen
dc.titleEMAS and Sonic Arts Network (1979–2004): Gender, Governance, Policies, Practiceen
dc.typeArticleen
dc.identifier.doihttp://dx.doi.org/10.1080/07494467.2016.1176765
dc.researchgroupMusic, Technology and Innovation Research Centre
dc.peerreviewedYesen
dc.funderN/Aen
dc.projectidN/Aen
dc.cclicenceN/Aen
dc.date.acceptance2015-11-30en
dc.researchinstituteMusic, Technology and Innovation - Institute for Sonic Creativity (MTI2)en


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