• Sounding Places with Hildegard Westerkamp. Online monograph at the Electronic Music Foundation
• Soundscape Composition and the Subversion of Electroacoustic Norms. Originally published in SEAMUS journal, and online in the Canadian Electroacoustic Community (CEC) EContact! publication.
• Soundwalk Interactions, a presentation given at ISEA/Invencao in Sao Paolo, Brazil, August 1999, as part of a Sonic Interactions panel organized by Andrea Polli of Chicago, published in the Soundscape Journal.
• Where water meets... in the Canadian Electroacoustic Community (CEC) EContact! publication. Based on a concert that I curated at Concordia University, Nov. '97: works by Hildegard Westerkamp, Andra McCartney and Maggi Payne (includes images and Shockwave sound).
• Creating Worlds for My Music to Exist Master's thesis in Music (York University, Toronto, 1994) in PDF format (full text). The thesis discusses the lives, work, ideas, technological choices and perspectives on gender and technology of fourteen Canadian women electroacoustic composers.
• Review of Wende Bartley's Claire-Voie in the CEC EContact! publication
• Review of The Musical Railism of Anne Le Baron in the CEC EContact! publication
• Review of Hildegard Westerkamp's Transformations in the CEC EContact! publication
• "Le Rapport Ambigu/The Ambiguous Relation." Parts I and II.
  full text for The Ambiguous Relation, Part 1. Contact! 9.1, Fall 1995: 43-58.
  full text for The Ambiguous Relation, Part II. Contact! 9.2, Spring 1996: 29-47.
  These two articles provide short biographical sketches of the fourteen Canadian women electroacoustic composers that I interviewed in 1993-94. The conclusion in Part II discusses the significance of these composers' individual survival strategies in the studio environment, their compositional choices, and their beliefs about education, gender issues, technological choices, compositional practice, and aesthetics.
• Whose Playground? on Norwegian composer Anne Lorentzen's page on gender, sound and technology
• Abstracts of papers published in printed journals
  • Whose Playground?
  • Inventing Images
  • Science and Technology Workshop

Paper presented at the International Computer Music Conference, September 1995. Proceedings of the International Computer Music Conference: Digital Playgrounds. Banff, Alberta, 1995: 563-570.

From 1993-94, I interviewed fourteen Canadian women composers of electroacoustic music. Montreal: Claire Piche, Lucie Jasmin, Pascale Trudel, Monique Jean, Helen Hall and Kathy Kennedy; Toronto: Gayle Young, Sarah Peebles, Wende Bartley, Elma Miller, Ann Southam, and Carol Ann Weaver; and Vancouver: Hildegard Westerkamp and Susan Frykberg. Both technology and music composition are stereotypically male domains. The gendering of electroacoustic music begins at the symbolic level, in the language and imagery of the publications and software that composers use. It is reproduced through institutional processes and practices, and expressed individually. This paper draws from feminist theory on technology (Harding 1986; Hacker, 1990; Haraway 1991), linguistics (Kittay 1987), and musicology (McClary 1991; Citron 1993) to discuss my consultants' experiences and practices, and how these relate to symbolic, structural, and individual gender. In particular, I concentrate on the discussion of women composers' experiences in the electroacoustic studio, and in educational contexts as teachers and students.

Leonardo Music Journal 5, 1995: 57-66.

In this article I explore symbolic imagery in the world of electroacoustic music, as presented in both popular technological music publications and in the language of 14 Canadian women composers. While mainstream discourse uses imagery that emphasizes power and control, these composers use metaphors of painting, dancing, sustenance, addiction, wilderness, meetings, circuitry, curses, locks, boxes, blessings and desire to describe their work. This imagery suggests different ways for artists to think about their interaction with technology.

Resources for Feminist Research 20(2), 1991: 50-51.

This paper describes a three-day residential science careers workshop for high school girls (Grades 9 and 10) designed to encourage their interest in science and technology. I initiated, developed and ran this workshop at Trent University, Peterborough, Ontario, from 1987-1992, with the cooperation of university faculty, speakers from the community, corporate sponsors, and undergraduate student workshop facilitators. The article discusses how we integrated feminist pedagogical techniques into the design of the workshop, and quotes the students' reactions to our approach.