Index
Note: Page locators in italics indicate a figure.
Aakær, Annika 134
Abbey Road Studios 19, 41
acoustic: engineer 224, 225; era, as early
sound 11, 12; masculine, as not 130;
properties, as desired sound 17, 20, 26,
45, 208
Acuña, María 101, 102, 115, 119
Agirre, Jozean 53
Aguirre, Rafael 52 – 53, 102
alboka 52, 53, 79n10
Alembic 145, 148, 149, 154n3
Alessandrini, Patricia 280
Algueró, Augusto 37 – 38, 49n2
Alonso, Celsa 35
Alvarez, Dunia 110, 115, 119
Amuriza, Xabier 71, 73 – 77
Anderson, Ruth 98
Angel Records, classical division of
Capitol Records 24
audio: engineering 7, 23, 187, 194,
219 – 223, 229 – 235; industry 223,
227 – 229, 232, 234, 268; production 7,
145, 153, 168, 268, 275; quality of 17;
technology 15, 175; women in 6, 7, 162,
175, 187, 269, 272
Audio Engineering Society 15, 233, 236
Audio Record 15
Avalon (Ballroom) 145 – 147
award: Grammy 24, 25, 104, 182; Juno 27
;
Oram 195; Producer of the Year 228;
Woman of the Year 196
Azoff, Irving 159
bagpiper, female 3, 97 – 98, 99, 102, 104, 111
Bailey, Alice 88
bands: Baby Zebras, the 134; Beatles,
the 2, 38, 40 – 41, 43 – 48, 130; Cinco
en Zocas (Five in clogs . . .) 111, 113,
118; Formula V, 39, 41, 48; Galician
Trio 104, 105; Gene Loves Jezebel
187, 188; Gose 56, 60, 66 – 68, 70 – 71;
Grateful Dead, the 145; Huntza 56,
60, 66 – 68, 71; Ironing Maidens, the
202 – 204, 206, 208, 210 – 211; Koban
56, 60, 66 – 68, 71; Los Brincos 38 – 41,
44, 46, 47, 48; Maraghotas 112,
112 – 114, 116n15; marstal:lidell 134,
140; Os Rosales 99
Barron, Bebe 16
Basque: culture, complexity of 51,
78n2; dance tunes of 54; female artists
55; society, vision of 52, 53, 55, 59,
70, 77
Batlle, José María 40, 41, 46, 47, 48
Bayton, Mavis 136
Beatles, the 38, 40 – 41, 43, 46, 48, 130
Bell, Patrick 275, 280
Beltzza, Esne 56, 59, 61 – 62, 69, 77
Berguices, Aingeru 52
bertsolaris 55, 57, 71, 78n8
bertsos 52, 55, 57, 73
Björk 5, 187, 193 – 194, 196
Born, Georgina 222,
223, 232, 242, 243
Boulton, Laura 13, 30n4
boundaries: blurred, as being 22, 23, 190;
breaking through, as in gender 123,
124, 239
Boy Band, culture of 1
Boyd, Liona 25
Brereton, Jude 6, 223
Brightman, Candace 149
Bro Code, the 135
bromance 134, 136
Bromhill, Olive 18 – 19, 24, 28, 30n16
Burgess, Richard 3, 38, 39
Bush, Kate 5, 177, 184, 193 – 194, 196
285
286
Callejo, Maryní (Nieves Callejo Martinez-
Losa, Maria de las): early life and career
36 – 37; music producer, career begins
38 – 42, 46, 47
Cantor-Jackson, Betty 4; Betty Boards
150, 154n8; interview with 145 – 153
Chiesa, Plinio 41, 48
Cixous, Hélène 6, 170 – 171, 200
Cohen, Bob 146
Cohen, Sara 129, 130
Columbia-Princeton Electronic Music
Center 22
composer: Algueró, Augusto 37; Cianni,
Susanne 22; Fisher, Linda 22; Golijov,
Osvalso 104; Ives, Charles 15; Oliveros,
Pauline 22; Osborn Joujon-Roche,
Aynee 156; Peón Mosterio, Mercedes
105; Prince 120; Purcell, Henry 19;
Rezza, Sol 270; Teicher, Adrienne 271;
Wood, Catharine 203
concert promoter 14
Costa, Marco Antonio 115, 119
counterculture movement 154
couplets, poetic verse 51 – 53, 57, 62 – 68,
71 – 76
Cozart-Fine team 17, 20
Cozart, Wilma 16 – 20, 25, 27
Craft-Union 14, 15, 19
Culshaw, John 21, 27
Cunningham Fletcher, Alice 12
Dahl, Linda 23
Das Klagende Lied 20
Dasgupta, Nilanjana 236, 237
De Lauretis, Teresa 6, 201
dead studio 26, 27
Deakin Davies, Lauren 252 – 265
Delia Derbyshire Archive 229
Densmore, Frances 12, 13
Derbyshire, Delia 5, 22, 187, 194 – 195, 196
Des Knaben Wunderhorn 20, 21
Devine, Kevin 222, 223, 232, 242, 243
Dewey, Warren 162, 163
discrimination: bagpiper, as to 97; free
from, as bands 229; gender, female
2, 82, 94, 106, 154, 228, 268, 274;
homophobia 269, 281; male 254;
positive, as 100 – 101, 189; public, as to
spaces 136 – 137
DJs (Disc Jockey): abuse, verbal 91
barriers, as female 92 – 93; beginning, in
the 84 – 85, 88; changeover, issues with
90; difficulties of 89 – 90; gender bias
83, 89; harassment 90 – 92; LGBTQ,
non-binary, as focus 88; male dominated
82 – 83; Melodie, Miss 88; music
obsession, as primary 88 – 89; promoters
89, 92, 94; rewarding, as personal 95;
training program 88, 93
Dobbin, Frank 234, 236
Dobson, Liz 7
documentary film recording: Alalá 108;
Asi es Galicia (This is Galicia) 102;
España Insólita (Amazing Spain)
102; Native American Indian song 12;
pioneers of 12, 102; Saudade, Retrato
en Si Bemol (Saudade, portrait in
B flat) 102
dreampop alternative rock subgenre
140, 194
electroacoustic 270, 272, 278
electronic music: feminine approach 6, 16,
22, 269, 277, 279; producers, female
187, 202, 268, 271
engineer: audio, sexism in 7, 14, 21, 130;
colleagues, as predominately male
23, 25; Craft-Union mode 14, 15, 19;
female role, as increasing 187, 194, 196,
214n6, 219; gender imbalance, dead
shows 148; recording 2, 12, 14 – 15, 147,
225
Equalizer, talent promoter 3, 88, 93, 94, 95
equality, diversity, and inclusion (ED&I):
diversity 65, 232, 234, 236, 240 – 244,
268, 275; equality 91, 156 – 157, 190,
219; inclusion 232, 236 – 242
Esne Beltza 56, 59 – 62, 65 – 66, 69, 77
Estudios Celada 37
Evans, Bill 23
Facebook is like disco, Twitter is like punk
3, 86 – 88
Family Dog 145, 146, 147, 154n1
femaleness 102, 112, 114, 253, 259, 263
feminine: experience 200, 205, 211; music,
approach to 6, 202 – 206, 210, 263, 265
feminism: cyberfeminism 7, 278;
ecofeminism 101; equality is 170;
gender identity and 254, 273; second-
wave 157, 170
feminist: male, activist (pro-feminist)
135; movement 22, 69, 77, 100, 102;
networks 276; philanthropic, as mindset
287
132; postfeminist 91, 94; project 3, 253;
research 199, 253; style, aesthetics and
207; theory 128, 266n6
Fernández, Marina 111, 115, 119
fidelity, as in sound, defined 17
Fine, C. Robert 16 – 17
Firth, Simon 87, 93, 139
Fischer, Katheryn 271, 273, 275, 277
Fjeldsted, Marie (Penny Police) 131
Fonit Cetra studios 41, 48
Fórmula V 39, 41, 48
Frey, Glenn 159 – 159
Gabriel, Ethel 23, 24, 27
Gadir, Tami 91, 93, 94
Gaisberg, Fred 12, 13, 19, 27
Galicia: culture, as to pipers 97 – 100, 111,
114; glocal, cultural production 105,
109, 114; piper band, as all women 98,
101; piper band, Saudade 102 – 103,
103; piping, popular music 110 – 112,
113 – 115; touristic image of 100, 100
García Morencos, Esteban 38, 49
Garcia, Jerry 151, 154, 154n4
Gavanas, Anna 82, 83
gender: allies, change from within 5,
187, 190 – 192, 196; balance 93 – 94,
143, 197, 223, 231 – 233, 240; bias
228 – 229, 235, 239; cultural capital 93,
98, 109, 255, 260; deconstructing 123,
157 – 158; difference, male dominate 6,
84, 156, 171, 251 – 254, 257, 260 – 263;
discrimination of 2, 14, 82, 100, 238;
inclusive, as curriculum 243 – 244;
inequality 91, 190, 227, 237, 242, 244;
issues 102, 106, 111, 114, 128, 135, 227;
lyrics regarding 132 – 133; modalities,
of music production 199 – 200,
207, 210 – 212; neutral, 170 – 171;
perspective, 51 – 52, 57, 73, 78, 128,
141; relationships 128 – 129, 141, 156;
rock, pop association of 130 – 131; roles,
contradicting 56, 63 – 65, 69 – 70, 76 – 77,
175, 206; social capital 253, 257, 260,
265, 275; stereotypes 56, 60, 77, 171,
192, 233, 243; sub-cultural capital 271,
275, 277; transgender and 66, 77, 88;
violence, gender-based 57, 58, 69, 154,
269, 274, 281; workplace, as in the 1, 6,
135, 153, 203, 228 – 229, 235
gendering 29, 61, 128, 130, 141, 219, 269
Gil Calvo, Enrique 36
González, Manolo 41, 42, 45 – 46
González, Nacho 98, 115, 119
Gose (Iñaki Bengoa, Ines Osinaga, Jon
Iñaki Zubiaga, members) 56, 60, 66 – 68,
70, 71, 77
gramophone 18 – 19, 21
Gramophone 21
Graphophone 12
Grateful Dead, the 4, 145 – 153
Green, Lucy 130
Grosz, Elizabeth 6, 200
Grzesik, Ania 205, 209 – 211, 213, 215n9
Guỡmundsdóttir, Björk see Björk
Harana, Mielanjel 53, 55
Harding, Phil 1, 242
Hathaway, Thomas 27
Healy, Dan 147, 148, 152
Hedkandi 88, 90
Hello World 241
Hepworth-Sawyer, Russ 1
Her Noise 299
High Fidelity 18
Hirdman, Yvonne 128
Hodgson, Jay 1
homosociality 93, 141, 279
Howard, Mary Shipman 14 – 16, 27, 30n6
Huntza 56, 60, 66 – 68, 71
Hurk, Fieke van den 202, 203, 205,
208 – 211
Ibsen, Henrik 132, 133, 142n3
irrintzi 52, 79n9
Jagger, Sharon 6
Jepson, Barbara 27, 28
Joint Audio Media Education Support
(JAMES) 242
Junkera, Kepa 56, 59 – 60, 62 – 63, 65,
68, 73
Kahn, John 141
Kalev, Alexandra 234, 236
Keane, Helen, 23, 27
Kearney, Mary Celeste 208, 210
Kepa Junkera 56, 60, 62, 65, 68, 70
Keychange 3, 94, 227, 268
Koban 56, 58, 60, 66, 68, 71
label: Allegro 16; Angel 24; Aquitaine 25;
Blue Note 42; Boot 25; Brunswick 14,
42; Camden 24; Capitol Records 24,
288
25; Columbia 36, 38, 54; Contemporary
42; Coral 42; Deadhead 150; Decca
20, 21, 195; Delysé 19, 20; Deutsche
Gramophon 27; DGG 42; Elektra
Records 160; Elite Recordings 25;
EMI 18, 19, 20; Eotrax 270; Estudios
Kirios 37; Mary Howard Recordings
(MHR) 15; MORD 270; Musicraft 16;
Nonesuch 25, 26, 31n23; Novola 38,
39, 46; Phillips 39, 41 – 42; Polydor 41,
42; RCA Victor 13, 15, 23; Riverside
42; Rudy Records 122; Spanish Music
Center 16; sub pop 85; Variety 14; Vox
25; Zafiro 36, 38, 40, 41, 48
Lane, Lilith 192
Laursen, Patti 24 – 25, 27, 28
Legge, Walter 19
Lidell, Anna 134
LinTon Taun 56, 61
Living Presence 17 – 18, 30n11
Lockett, Lucy 88, 90, 93
Lont, Cynthia M. 21, 22, 23
Los Brincos, 38 – 41, 44, 46, 47, 48
Los Brujos 37
Lössl, Astrid Nora 128, 131 – 133,
135 – 141
Lössl, reflections of 137 – 140
Lovehearts, Hattie 88, 90
Ma, Yo-yo 103, 104, 105
Macarthur, Sally 200 – 212
machism 69, 97
Mahlar, Gustav 20, 21
Manchado, Marisa 57
Marrington, Mark 2, 6
marstal:lidell, dreampop duo 134, 140
Martin, George 38, 40
masculinity: bagpipes, associated as
98, 109; culture of, as in recording
130, 157; embracing 170 – 171, 200,
202; hegemonic, defined as 122 – 123,
254, 268; muted, as 187; rock music,
as rooted in 134; semantic, musical
reference 58, 82; toxic 196
Matthews, Bob 147, 148, 149, 152, 154n2
McRobbie, Angela 83, 139, 210
Meniñas de Saudade (Nostalgic Girls) 98,
101 – 102, 113, 115, 118
microphone, 43; close miking 26, 44;
minimal miking 17, 26; positioning 17,
20, 42, 45, 185; Telefunken, as brand
17, 41, 44
Milhaud, Alain 36, 48
Mills, Irving 14
misogyny 84, 90, 94, 95, 148 269
Miss Melodie DJ, 88
Morris, Wyn 20, 21
music genre: alternative 4, 127; American
minimalism 185; Anglo-Saxon 35, 48;
classical 5, 16 – 20, 24 – 26; dance 82 – 83,
91, 269; Dark Disco 270; disco 87; EBM
(electronic body music) 270; ethnic
idioms 185; German classicism 185;
hip hop 83; indie rock 83, 134; Italian
polyphony 185; jazz 5, 14, 42, 105, 158,
182; jotas 116n15; modern 37; pop, 35,
37, 39, 48, 187; punk American post-
punk 84; rock and roll 28, 40, 89, 149,
194; Russian romanticism 185; Triki pop
55, 71, 77; trikitixa 3, 52, 73; ye-ye, 38
music producers, female: Björk 5,
187, 193 – 194, 196; Botta, Sophie
202, 214n2; Bromhall, Olive 18, 28;
Bukvich, Svjetlana 5; Bush, Kate 5,
177, 184, 193 – 194, 196; Callejo,
Maryní 2 – 3, 36; Deakin Davies, Lauren
252 – 265; Grzesik, Ania 205, 209 – 211,
213, 215n9; A Hundred Drums
205 – 206, 208, 210 – 212, 214n8; Hurk,
Fieke van den 202, 203, 205, 208 – 211,
213n1; Kearney, Mary Celeste 208, 210;
McRobbie, Angela 83, 139, 210; Missy
Thang 202, 204, 208 – 210, 214n3; Peón
Mosterio, Mercedes 98, 102, 105 – 106,
107, 107 – 109, 113; Preece, Patty
202 – 204, 206, 208, 210 – 213, 214n5;
Rivero, Karina 203 – 205, 208 – 213,
214n7; Wallich, Isabella 18 – 21, 25,
28; Warren, Amelia 202, 204 – 206,
209 – 211, 214n4; Whitfield, Aubrey
252 – 264; Wood, Catharine 203 – 205,
208, 212, 214n6
music producers, male: Marstal, Henrik
4; Milhaud, Alain 36, 48; Rasmussen,
Kasper 128, 131, 132, 135 – 140
music production: Do-It-Yourself (DIY)
210, 212; feminine approach to 6;
gender bias, change as necessary 235;
studio based 13
music, evolution of 18, 49
NBC (National Broadcasting Company)
14 – 16, 29
Nelson, Prince Rogers see Prince
289
Nickrenz, Joanna 24, 25 – 28
non binary 3, 84, 88, 92 – 94
Oakley Dance, Helen 14, 27
Osborn Joujon-Roche, Aynee 156 – 158;
interview with 158 – 162, 168 – 170
Oubiña, Leticia 110, 115, 119
pandero 52, 68
Parkening, Christopher 24 – 25
Parker, Ramona see Miss Melodie, DJ
Pato, Cristina 98, 100, 102 – 103, 103,
104 – 106, 114
Peón Mosterio, Mercedes 98, 102,
105 – 106, 107, 107 – 109, 113
Perspectivees on Music Production
(POMP) 1
Pettinger, Peter 23
Piercy, Marge 157, 171
Pink Noises 229, 268
Plunkett, Donald 15, 30n8
Preece, Patty 202, 214n5
Prince: career, early 123; icon, musically
120; masculinity, challenged concept
of 4, 120 – 123; Meniñas de Saudade
(Nostalgic Girls) 98, 101 – 103,
113 – 115, 118; Milladoiro 100, 108;
musicians, female support of 121;
Paradanda 111; persona, as sexually
suggestive 122; Restless Blues Band
156; Rolling Stones, the 40; Tapia eta
Leturia 55 – 56, 60 – 65, 69 – 71; White
Flag Society 134; work ethic 124;
Xironsa 110
producers: executive 17, 184; Great
Britain, in 18; jazz, first female 14
Producing Music 2
promoters: concert 14, 145; cultural 101;
DJs, of, 92
PRS Foundation 94, 195, 268
Rasmussen, Kasper 128, 131, 132,
135 – 140
rave 85
record production: commercial 16;
feminist approach to 6, 17, 20, 111,
137 – 138, 190 – 191; historical gaps
in 11; holistic approach 15, 17, 191;
musicology 82, 128, 178, 271; studio
based 4, 13, 22, 220
recording: electronic 16, 22, 185, 220; high
fidelity 16; Living Presence, classical
17; process of 17, 20, 23 – 25, 45, 130,
141, 253
recording techniques, 15, 26
recordist 12 – 16
Reed, Vanessa 94, 95
Reitsamer, Rosa 82, 83
Rezza, Sol 270, 278, 279
Rich, Adrienne 5, 157
Rivero, Karina 203 – 205, 208 – 213, 214n7
Rodríguez, Aurea 98
Rodríguez, Theresa 101
Rogers, Susan 4, 121, 122 – 124
Rogers, Tara (Pink Noises: Women on
Electric Music and Sound) 268
Rothchild, Dan 158, 159
Rothchild, Paul 158, 159
Saar studios 41, 48
Saudade see Meniñas de Saudade
Sayang 88, 94
Seivane, Susana 98, 101, 102, 105,
108 – 109, 113
self-production 13, 22, 29, 208
Sevilla, Carmen 37
sexist 92, 106, 148, 253
sexual: diversity 65; expression 3, 66;
freedom 77, 108; harassment 90, 94,
192, 239 – 240, 254; identity 3, 67, 157;
relations 61 – 63, 65, 67
sexuality: freedom to express 66, 67, 68,
88; heterosexual 61 – 63; music, as in 57,
58, 64
She is the Music 229, 240
Sniderman, Eleanor 24, 25 – 26, 27, 28
social network 7, 229, 237, 240, 275
Socialist Jukebox 85, 86
sound: analogue 162, 188; dead studio
26 – 27; digitized 162, 164, 168, 180;
Dolby 183; echo 24, 26, 179; fidelity
16 – 17; mixing process 17, 39, 44, 47,
128, 150 – 152, 225; musician placement
and 21
Spanish music 35 – 37, 40
Spotify 168, 229, 240, 268
Stagg, Allen E. 20 – 21, 30n19, 31n20
STEM (science technology engineering and
maths) 226, 228 – 229, 231 – 337, 240
Stout, Jane 236, 237
Straw, Will 93, 130
studios: A&M Records 159; Abbey
Road studios 19, 41; CEA studios 41;
Columbia 38, 54; Fonogram, owned by
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