Chaminade, Cécile. Piano Music (New York: Dover Publications, 2002).Google Scholar

Lehmann, Liza. 14 Songs for Soprano/Mezzo Soprano and Piano (London: Thames Publishing, 1999).Google Scholar

White, Maude Valérie. Friends and Memories, reprinted ed. (London: Forgotten Books, 2018).Google Scholar

Boulanger, Lili. Clairières dans le ciel, Les Sirènes, Renouveau, Soir sur la plaine, Hymne au Soleil, Pour les funérailles d’un soldat, Martyn Hill (tenor), Andrew Ball (piano), New London Chamber Choir cond. James Wood, Hyperion: CDH55153 (1996).Google Scholar

Her Voice: Piano Trios by Farrenc, Beach and Clarke. Neave Trio, Chandos: CHAN20139 (2019).Google Scholar

Holmès, Augusta. ‘La Nuit et L’Amour’, interlude from Ludus pro Patria on La Nuit étoilée: Hector Berlioz, Augusta Holmès, Orchestre Pasdeloup cond. Wolfgang Doerner, Gramola: B09DJCGXPX (2021).Google Scholar

Boulanger, Lili. Clairières dans le ciel, Les Sirènes, Renouveau, Soir sur la plaine, Hymne au Soleil, Pour les funérailles d’un soldat, Martyn Hill (tenor), Andrew Ball (piano), New London Chamber Choir cond. James Wood, Hyperion: CDH55153 (1996).Google Scholar

Her Voice: Piano Trios by Farrenc, Beach and Clarke. Neave Trio, Chandos: CHAN20139 (2019).Google Scholar

Holmès, Augusta. ‘La Nuit et L’Amour’, interlude from Ludus pro Patria on La Nuit étoilée: Hector Berlioz, Augusta Holmès, Orchestre Pasdeloup cond. Wolfgang Doerner, Gramola: B09DJCGXPX (2021).Google Scholar

Boulanger, Lili. Clairières dans le ciel, Les Sirènes, Renouveau, Soir sur la plaine, Hymne au Soleil, Pour les funérailles d’un soldat, Martyn Hill (tenor), Andrew Ball (piano), New London Chamber Choir cond. James Wood, Hyperion: CDH55153 (1996).Google Scholar

Her Voice: Piano Trios by Farrenc, Beach and Clarke. Neave Trio, Chandos: CHAN20139 (2019).Google Scholar

Holmès, Augusta. ‘La Nuit et L’Amour’, interlude from Ludus pro Patria on La Nuit étoilée: Hector Berlioz, Augusta Holmès, Orchestre Pasdeloup cond. Wolfgang Doerner, Gramola: B09DJCGXPX (2021).Google Scholar

Anderson, Laurie. Big Science, LP/CD/DL (New York: Warner Bros, 1982).Google Scholar

Derbyshire, Delia, and Ron Grainer. Doctor Who: Original Theme Music and Credits (London: BBC TV, 1963), www.youtube.com/watch?v=75V4ClJZME4.Google Scholar

Eckhardt, Julia, and Radigue, Éliane. Éliane Radigue: Intermediary Spaces/Espaces Intermédiares (Brussels: Umland Editions, 2019).Google Scholar

Molleson, Kate. Sound within Sound: Opening Our Ears to the 20th Century (London: Faber & Faber, 2022).Google Scholar

Oliveros, Pauline. Software for People: Collected Writings 1963–80, 2nd ed. (Kingston, NY: Pauline Oliveros Publications, 2015).Google Scholar

Radigue, Éliane. Éliane Radigue: Oeuvres Électroniques, 14 CDs (Paris: Ina-GRM, 2018).Google Scholar

Tutti, Cosey Fanni. Re-Sisters: The Lives and Recordings of Delia Derbyshire, Margery Kempe and Cosey Fanni Tutti (London: Faber & Faber, 2022).Google Scholar

Born, Georgina, and Devine, Kyle. ‘Introduction. Gender, Creativity and Education in Digital Musics and Sound Art’, Contemporary Music Review, 35/1 (2016), 1–20.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), 25–46.CrossRefGoogle Scholar

Lewis, George E. ‘The Virtual Discourses of Pamela Z’, Journal of the Society for American Music, 1/1 (2007), 57–77.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), 85–101.CrossRefGoogle Scholar