Women Who Built Electronic Music (September 2026) A Complete History

The history of electronic music has been rewritten many times. Each time, the names of women who built electronic music from the ground up seem to fade further into the background.

When discovering that the theremin was played by a woman named Clara Rockmore in the 1920s, many are shocked. Even those who studied music for years often never heard her name. That moment sparked a journey of uncovering the women who built electronic music a history that most textbooks simply ignore.

These female electronic music pioneers faced barriers that their male counterparts never encountered. They were denied credit, paid less, and often written out of the official record. Yet they invented the sounds that shape our world today. From the BBC Radiophonic Workshop to the San Francisco Tape Music Center, women in electronic music history were there at every breakthrough.

In this guide, you will meet the pioneering women in electronic music who changed everything. You will discover the instruments they invented, the studios they founded, and the challenges they overcame. By the end, you will understand why their contributions matter more than ever in 2026.

Women Who Built Electronic Music: The Complete Story (2026)

The story of electronic music cannot be told without the women who built it. These innovators were not just participants. They were architects of an entirely new musical language.

Female electronic music pioneers worked with machines that most musicians dismissed as noise-makers. They saw potential where others heard only strange sounds. Through their experiments, they created the foundation for synthesizers, computer music, and modern sound design.

Their work spans nearly a century, beginning in the 1920s with the theremin and continuing through the development of synthesizers in the 1970s. Each decade brought new women who pushed the boundaries of what music could be.

The Birth of Electronic Music: Historical Context

Electronic music emerged in the early 20th century when inventors began creating instruments that produced sound through electrical means rather than acoustic vibration. The first electronic instrument, the theremin, was invented by Lev Termen in Russia in 1920.

This invention marked a turning point. For the first time, musicians could create sounds without touching an instrument. The theremin responded to hand movements in space, producing ethereal tones that seemed to come from another world.

By the 1940s, tape music emerged as a revolutionary technique. Composers could record sounds on magnetic tape, then cut, splice, and manipulate them to create entirely new compositions. This technique, called Musique Concrète in France and simply tape music elsewhere, opened doors that acoustic instruments could not.

Women entered this field from multiple directions. Some were classically trained musicians seeking new sonic possibilities. Others came from engineering backgrounds and understood the technical foundations of these new instruments. A few were self-taught experimenters who taught themselves everything they needed to know.

The gender barriers were real and significant. Women were often relegated to assistant roles despite doing the actual creative work. They faced skepticism from male colleagues who doubted their technical abilities. Yet they persisted, driven by passion for sound and innovation.

Pioneer Profiles: The Women Who Changed Everything

Clara Rockmore (1911-1998): The Theremin Virtuoso

Clara Rockmore was not just the greatest theremin player who ever lived. She was arguably the first true star of electronic music.

Born in Lithuania as Clara Reisenberg, she showed extraordinary musical talent from an early age. She entered the Saint Petersburg Conservatory at age five, studying violin under the legendary Leopold Auer. By her teens, she was touring Europe as a violin prodigy.

When health issues threatened her violin career, she discovered the theremin. The instrument required no physical contact, which spared her the strain that had damaged her hands. She immediately saw its musical potential where others heard only novelty.

Rockmore developed unprecedented control over the theremin. She worked with Lev Termen to refine the instrument, suggesting modifications that improved its musical range and responsiveness. Her technique involved precise finger positions and whole-body movements that looked like conducting an invisible orchestra.

By the 1930s, she was performing sold-out concerts at venues like Carnegie Hall and the Library of Congress. She played classical repertoire with a sensitivity that silenced critics who dismissed electronic instruments as gimmicks. Her 1977 album “The Art of the Theremin” remains essential listening.

Rockmore demonstrated that electronic instruments could deliver genuine musical expression. She proved that women could master complex technology and become its public face. Every electronic musician today owes something to her pioneering performances.

Daphne Oram (1925-2003): Founder of the BBC Radiophonic Workshop

Daphne Oram dreamed of transforming sounds into pictures. That dream led her to invent Oramics, a system that drew sounds by hand and turned them into music.

Oram began her career at the BBC in 1942 at age 18, working as a music balance operator. She quickly became fascinated by the possibilities of electronic sound. While her colleagues saw broadcasting as a technical job, she saw it as an art form waiting to be invented.

In the 1950s, she began experimenting with tape recorders, oscillators, and filters in her spare time. She would stay late at the studio, exploring sounds that the BBC had no use for during regular programming. Her dedication paid off when she convinced the BBC to create the Radiophonic Workshop in 1958.

The BBC Radiophonic Workshop became one of the most important centers for electronic music in the world. It produced the sound effects and music for countless radio and television programs, most famously the Doctor Who theme music. Though Delia Derbyshire created that iconic piece, Oram had laid the foundation.

Oram left the BBC in 1959 to pursue her own vision. She set up her studio in a converted oast house in Kent and began developing the Oramics Machine. This device used hand-drawn waveforms on 35mm film strips to control sound synthesis. The drawings literally became music.

Her 1972 book “An Individual Note” remains a visionary text about music, technology, and consciousness. She proposed that electronic music could access deeper levels of human perception, anticipating ideas that would not become mainstream for decades.

Daphne Oram was a true visionary who saw possibilities that others missed. She built the infrastructure that allowed electronic music to flourish in Britain. Her Oramics Machine stands as one of the most beautiful intersections of visual art and sound ever created.

Bebe Barron (1925-2008): Hollywood’s Electronic Pioneer

Bebe Barron created the first entirely electronic film score in cinema history. The 1956 film Forbidden Planet remains a landmark of science fiction and electronic music.

Born Charlotte May Wind in Minneapolis, Barron studied music and composition before moving to New York. There she met Louis Barron, an electronic engineer who had been experimenting with tape recorders and oscillators. They married and began making music together, forming the first husband-wife electronic music team.

The Barrons built their own electronic music equipment when commercial synthesizers did not exist. They used modified tape recorders, filters, and ring modulators to create otherworldly sounds. Their home studio became a laboratory for sonic experimentation.

When MGM needed music for Forbidden Planet, they wanted something that sounded truly alien. The Barrons delivered. Their score used no orchestral instruments whatsoever. Every sound came from electronic sources, manipulated through tape techniques and custom-built circuits.

The result was unlike anything audiences had heard. The sounds seemed to come from another planet because they did. No traditional instrument could produce those tones. The score earned critical acclaim and influenced generations of science fiction soundtracks.

After the Barrons divorced, Bebe continued her electronic music career in Los Angeles. She created music for theater, dance, and multimedia projects. She also became a vocal advocate for electronic music education, teaching and lecturing throughout her life.

Bebe Barron proved that electronic music could reach mainstream audiences. She showed that women could lead in a field dominated by men. Her work on Forbidden Planet opened doors that many electronic composers would walk through in the years to come.

Delia Derbyshire (1937-2001): The Sound of Doctor Who

Delia Derbyshire created one of the most recognizable pieces of electronic music ever made. The Doctor Who theme song, composed in 1963, introduced millions to the sound of synthesizers.

Derbyshire joined the BBC Radiophonic Workshop in 1960, becoming one of its first permanent members. She had studied music and mathematics at Cambridge, combining technical precision with creative vision. Her early work included sound effects for radio dramas and experimental pieces that explored the outer edges of tape music.

When composer Ron Grainer wrote the Doctor Who theme, he created a score that seemed impossible to realize with existing technology. Derbyshire made it real. She used tape manipulation techniques, oscillators, and recordings of plucked strings to construct the iconic sound from scratch.

The process was painstaking. Each note was created individually, recorded onto tape, then cut and spliced in precise sequences. The swooping bass line came from a sine wave generator. The ethereal melody emerged from a combination of electronic tones and acoustic sources.

When Grainer heard Derbyshire’s realization of his composition, he was amazed. He suggested that she receive co-composer credit, but BBC policy prevented it. Her contribution remained officially uncredited for years, a pattern that repeated throughout her career.

Derbyshire created music for hundreds of BBC programs. She collaborated with fellow Radiophonic Workshop member Brian Hodgson and composer Peter Zinovieff on electronic pop projects. Her work ranged from avant-garde compositions to commercial sound design.

She left the BBC in 1973, frustrated by the lack of recognition and the institutional constraints. Her later years were difficult, with struggles including alcoholism and periods of homelessness. She died in relative obscurity, though her work had reached millions.

Today, Delia Derbyshire is recognized as one of the most important figures in electronic music history. The Doctor Who theme remains her most famous work, but her entire catalog rewards exploration. She was a true pioneer who built the sound of the future with tape and determination.

Pauline Oliveros (1932-2016): Deep Listening Pioneer

Pauline Oliveros expanded the definition of electronic music to include the space between sounds and the consciousness of the listener. Her Deep Listening practice transformed how we think about music.

Oliveros grew up in Houston, Texas, surrounded by sound. She began playing accordion as a child and developed an ear for the subtle sonic textures of everyday life. This sensitivity to environmental sound would become central to her artistic philosophy.

She moved to San Francisco in the 1950s and became deeply involved in the Bay Area experimental music scene. In 1962, she co-founded the San Francisco Tape Music Center with Ramon Sender and Morton Subotnick. The Center became a crucial incubator for electronic music, providing access to tape machines, oscillators, and Moog synthesizers before such equipment was widely available.

Oliveros composed groundbreaking tape pieces during this period. Works like “Bye Bye Butterfly” (1965) used the newly invented Moog synthesizer to transform familiar sounds into something strange and beautiful. She explored feedback systems, tape delay, and improvisation with electronics.

In 1966, she moved to Toronto to head the electronic music program at the University of Toronto. She returned to California in 1967 to teach at UC San Diego, where she continued her electronic experiments while developing her philosophy of Deep Listening.

Deep Listening emerged from Oliveros’s experience of playing in an underground cistern with extraordinary acoustics. She realized that listening itself could be a creative act. This insight led her to develop practices that combine meditation, attention, and sonic exploration.

Throughout her career, Oliveros advocated for gender equality in music. She noticed that women were often excluded from technical discussions and equipment access. She made a point of teaching women the skills they needed to work independently with electronic music technology.

Pauline Oliveros received numerous honors and continued performing and teaching until her death. Her influence extends far beyond electronic music into areas like sound art, acoustic ecology, and mindfulness practice. She showed that electronic music could be about presence and awareness, not just technology.

Maryanne Amacher (1938-2009): Sound Installation Visionary

Maryanne Amacher heard sounds that most people cannot perceive. She spent her life making those sounds audible and creating installations that transformed spaces into living instruments.

Amacher grew up in Pennsylvania and studied music at the University of Pennsylvania. She worked with composer George Rochberg and later with Karlheinz Stockhausen in Germany. Her time with Stockhausen introduced her to electronic music and sound installation, fields she would revolutionize.

She joined the Center for Music Experiment at UC San Diego in the 1970s, where she developed her unique approach to sonic architecture. Amacher was fascinated by the way sound behaves in physical space. She created pieces that used multiple speakers placed throughout rooms, with each speaker carrying different elements of the composition.

Her most famous concept was the “ear tone” phenomenon. Amacher discovered that certain combinations of sounds could cause listeners to hear additional tones that were not actually present in the audio. These phantom tones exist only in the listener’s ear, created by the interaction of frequencies.

She called her large-scale works “sound characters” or “sound houses.” These were not simply pieces of music to be heard. They were environments that listeners entered and experienced physically. The sound surrounded you, moved through you, and changed based on your position in the space.

Amacher also worked with musicians like John Cage and Merce Cunningham, creating electronic music for their performances. She composed for dance, film, and solo performance, always exploring the edges of what sound could do.

Despite her innovations, Amacher struggled for recognition during her lifetime. She faced the barriers common to women in electronic music, plus the additional challenge of creating work that was difficult to record and distribute. Her installations had to be experienced in person to be fully understood.

Today, her work is being rediscovered and celebrated. Archives of her compositions are being preserved, and new generations of sound artists cite her as a major influence. Maryanne Amacher built spaces where sound could become architecture, and we are only beginning to understand what she created.

Wendy Carlos (born 1939): The Synthesizer Superstar

Wendy Carlos brought electronic music to mainstream audiences. Her album Switched-On Bach sold over a million copies and proved that synthesizers could play serious classical music.

Born Walter Carlos in Rhode Island, she showed musical and technical talent from childhood. She studied physics and music at Brown University and Columbia University, combining scientific rigor with artistic sensitivity. This dual background would serve her well in the emerging field of electronic music.

In 1964, Carlos met Robert Moog at the Audio Engineering Society convention. She saw the potential of his early synthesizer prototypes and became his advocate and collaborator. Her suggestions helped shape the development of the Moog synthesizer, including the touch-sensitive keyboard that became standard.

Switched-On Bach, released in 1968, was recorded on an early Moog synthesizer in Carlos’s New York apartment. The album featured Bach compositions performed entirely on synthesizers, with Carlos painstakingly assembling each piece note by note using tape overdubs. The process took months.

The album was an immediate sensation. It reached number 10 on the Billboard charts and won three Grammy Awards. Suddenly, electronic music was not just for experimental composers. It was popular music that anyone could enjoy.

Carlos followed this success with more albums, including The Well-Tempered Synthesizer and Switched-On Brandenburgs. She also began composing film scores, most famously for Stanley Kubrick’s A Clockwork Orange (1971) and The Shining (1980). Her electronic score for A Clockwork Orange created a template for synthesizer film music.

In 1972, Carlos underwent gender confirmation surgery and began living as Wendy Carlos. For several years, she wore sideburns and appeared in public presentations in a way that drew attention away from her transition. She eventually spoke openly about being transgender, becoming one of the few visible transgender women in the music industry.

Wendy Carlos continued composing and recording throughout her career. She developed new tuning systems and explored alternative scales. Her work demonstrates how electronic instruments can expand the possibilities of musical expression beyond what acoustic instruments can achieve.

She remains active in music and advocacy. Her pioneering role in popularizing synthesizers cannot be overstated. Wendy Carlos showed the world that electronic music could be beautiful, accessible, and commercially viable.

Éliane Radigue (born 1932): The Drone Master

Éliane Radigue creates music that moves so slowly it seems almost still. Her long-form drone compositions stretch time and transform perception.

Radigue was born in Paris and studied music at the Sorbonne. She became interested in electronic music through tape experiments and the emerging synthesizer technology. In the 1960s, she worked as an assistant to Pierre Henry, one of the founders of Musique Concrète, at his studio in Paris.

During this period, she also assisted Pierre Schaeffer, another pioneer of tape music. The experience gave her deep technical knowledge of electronic music production. She learned how to manipulate sound at the most granular level.

In 1970, Radigue visited New York and discovered the ARP 2500 synthesizer. She became captivated by this massive modular instrument, which offered unprecedented control over sound. Unlike the Moog synthesizer that Wendy Carlos popularized, the ARP 2500 used a matrix of switches rather than patch cables, allowing for more precise and stable configurations.

Radigue acquired her own ARP 2500 and began creating the long-form compositions that would define her career. Pieces like “Chry-ptus” (1971) and “Adnos” (1974) explored sustained tones that evolved almost imperceptibly over time. These works typically lasted 20 minutes to over an hour.

Her process was meticulous. She would set up complex configurations on the ARP 2500, creating feedback loops and subtle modulations. The music emerged from the interaction of these settings, unfolding like a living organism. She described her relationship with the synthesizer as a conversation.

Radigue’s music is often associated with drone and minimalism, though she developed her approach independently of composers like La Monte Young. Her work has meditative qualities that connect to her later Buddhist practice. She became a Tibetan Buddhist in 1975, and her music reflects spiritual concerns with time, space, and consciousness.

She continued composing into her 80s, later working with acoustic instruments and collaborating with younger performers. Her influence on ambient music, drone, and experimental composition is immense. Éliane Radigue proved that electronic music could be a path to transcendence.

Suzanne Ciani (born 1946): The Sound of Commerce and Art

Suzanne Ciani made electronic music pay. She built a career as a commercial sound designer while creating beautiful synthesizer compositions that reached wide audiences.

Ciani grew up in Indiana and studied music at Wellesley College and UC Berkeley. She discovered synthesizers at Mills College, where she studied with composer Don Buchla. The Buchla synthesizer became her primary instrument and artistic companion.

Unlike the Moog synthesizer with its piano-style keyboard, the Buchla used touch plates that responded to finger position and pressure. This design encouraged a different approach to music-making, one that Ciani found liberating. She could shape sound directly with her hands.

In 1974, Ciani moved to New York City with her Buchla synthesizer in a U-Haul trailer. She struggled initially, playing at art galleries and avant-garde venues while working day jobs. Her breakthrough came when she realized that her synthesizer skills had commercial value.

Ciani began creating sound logos and advertising jingles for major brands. She designed the signature sounds for Coca-Cola, AT&T, and many other companies. Her most famous creation was the “pop and pour” sound for a Coca-Cola commercial, a synthesized sound effect that was impossible to record acoustically.

At the same time, she pursued her artistic career. Her 1982 album “Seven Waves” introduced her to new age audiences. She performed live on national television, most notably on the David Letterman show in 1986, playing the Buchla synthesizer for millions of viewers.

Ciani was the first woman to achieve prominence as a solo synthesizer performer. She demonstrated that electronic music could support a career and reach mainstream success. Her work bridged the gap between experimental music and popular appeal.

Today, Ciani continues to perform and record. She has returned to her Buchla roots, creating music that explores the full capabilities of modular synthesis. Her career shows that women can succeed in electronic music on their own terms, combining commercial viability with artistic integrity.

Laurie Spiegel (born 1945): The Computer Music Pioneer

Laurie Spiegel taught computers to sing. Her work at Bell Labs in the 1970s helped create the field of computer music and made powerful tools accessible to composers.

Spiegel grew up in Chicago and studied music at Shimer College and Roosevelt University. She played guitar and Appalachian dulcimer, folk instruments that influenced her approach to electronic music. She was drawn to technology as a way to realize sounds she could not produce acoustically.

In 1973, she joined the Computer Music Center at Bell Labs in New Jersey. This was one of the most advanced facilities for electronic music research in the world. Spiegel worked alongside scientists and engineers, creating music using mainframe computers that filled entire rooms.

Her most significant contribution was the creation of the Music Mouse software in 1986. This program ran on early Macintosh computers and allowed users to create music through intuitive interactions. Rather than typing code or manipulating complex parameters, composers could use the mouse to control musical parameters in real-time.

Music Mouse was revolutionary. It put powerful compositional tools in the hands of anyone with a personal computer. Spiegel distributed the software widely, encouraging experimentation and democratizing access to computer music technology.

Spiegel’s own compositions demonstrate the musical possibilities of her tools. Works like “The Expanding Universe” (1980) use algorithmic processes to generate evolving musical structures. She explored just intonation, alternative tunings, and the relationship between visual patterns and sound.

She also created the realization of Johannes Kepler’s “Harmonices Mundi” for the Voyager Golden Record. This 1977 NASA project sent recordings into space aboard the Voyager spacecraft, including Spiegel’s computer-generated music representing human achievement.

Throughout her career, Spiegel has been an advocate for accessibility in electronic music. She believes that technology should serve artistic vision, not replace it. Her work continues to influence computer music and algorithmic composition. Laurie Spiegel built bridges between the technical world of computer science and the creative world of music.

The Instruments They Invented: Technical Innovations

The women who built electronic music did more than play existing instruments. Many of them created new technologies that expanded what was possible.

Daphne Oram’s Oramics Machine represented a completely different approach to sound synthesis. Rather than using oscillators and filters, Oram drew waveforms on 35mm film strips. These drawings were read by photoelectric cells and transformed into sound. The visual became audible through a process that predated digital sampling by decades.

Clara Rockmore did not invent the theremin, but she refined it through collaboration with Lev Termen. She suggested improvements to the instrument’s response and range that made it more musically useful. Her input shaped the theremin’s development as surely as any engineer’s.

Laurie Spiegel’s Music Mouse software opened computer music to non-programmers. Before her work, creating computer music required knowledge of complex programming languages. Music Mouse allowed composers to work intuitively, using graphical interfaces that would later become standard.

The tape techniques developed by women at the BBC Radiophonic Workshop and the San Francisco Tape Music Center became standard practices. Methods of tape splicing, speed manipulation, and loop creation that Delia Derbyshire and Pauline Oliveros pioneered are still used in digital form today.

Suzanne Ciani developed approaches to synthesizer programming that became templates for commercial sound design. Her techniques for creating percussive sounds, bass tones, and ambient textures influenced how synthesizers were used in advertising and popular music.

These innovations matter because they shaped the tools we use today. Every digital audio workstation contains echoes of the work these women did with tape machines and analog synthesizers. Their solutions to technical problems became industry standards.

Global Perspectives: Beyond the Western Canon (2026)

The history of electronic music extends far beyond the United States and Europe. Women in Latin America, Asia, and other regions made significant contributions that are only now being recognized.

Oksana Linde is a Venezuelan composer who began creating electronic music in the 1980s. She worked with synthesizers and tape machines to produce a unique sound that combined electronic textures with Latin American musical sensibilities. Her work was largely unknown outside Venezuela until a compilation album was released in [cy-1], when she was in her 70s.

Jacqueline Nova was a Colombian composer who explored electroacoustic music in the 1960s and 1970s. She created works that incorporated electronic sounds with traditional Colombian instruments, building bridges between folk traditions and avant-garde experimentation.

These composers faced additional barriers beyond gender. Working in countries with limited resources for experimental music, they often lacked access to the latest equipment. They made do with whatever was available, creating innovations born from necessity.

The documentary “Sisters with Transistors” (2021) has helped bring attention to these overlooked pioneers. The film features women electronic musicians from around the world, including some whose work was nearly lost to history.

Archives and preservation efforts are now working to recover these recordings. Labels like Analog Africa and Finders Keepers have released compilations of electronic music by women from Latin America, Africa, and Asia. Each release adds new names to the history of electronic music.

Recognizing these global contributions matters because it corrects an incomplete historical record. Electronic music was never just a Western phenomenon. Women around the world were experimenting with sound, and their work deserves to be heard.

The Barriers They Faced

Every woman in this article overcame significant obstacles. Understanding these barriers helps explain why their contributions were overlooked and why recognizing them now matters so much.

Gender discrimination was pervasive in the institutions where electronic music developed. Universities, broadcasting corporations, and recording studios were dominated by men who often dismissed women’s technical abilities. Women were steered toward assistant roles and denied credit for their creative work.

Delia Derbyshire’s story is typical. She created one of the most famous pieces of electronic music ever made but could not receive co-composer credit due to BBC policy. Her male colleague, who contributed the original composition but not the electronic realization, received full credit.

Technical knowledge was often gatekept. Equipment was expensive and access was controlled by men who decided who could use it. Women had to teach themselves, work in off-hours, or build their own equipment to participate.

Documentation was another barrier. Women’s work was less likely to be preserved in archives. Recordings were lost, papers discarded, and memories faded. The historical record skews toward men partly because their work was more systematically saved.

Commercial pressures also played a role. Electronic music that reached wide audiences tended to be made by men who had industry connections and promotional support. Women who created equally innovative work often lacked the platforms to reach listeners.

These barriers began to break down in the 1970s and 1980s, but slowly. Change came through the persistence of pioneers who refused to accept exclusion and through broader social movements for gender equality.

Legacy and Influence: Their Impact on Modern Music

The women who built electronic music created the foundation for everything that followed. Their influence extends through every genre that uses electronic sounds.

Wendy Carlos’s Switched-On Bach proved that synthesizers could be commercially viable. That success opened doors for the synthesizer boom of the 1970s and 1980s. Without her, electronic music might have remained a niche experimental concern.

Delia Derbyshire’s work on the Doctor Who theme introduced generations to electronic sound. Musicians who grew up hearing that theme were inspired to explore synthesizers themselves. The piece became a gateway to electronic music for countless listeners.

Pauline Oliveros’s Deep Listening practice influenced ambient music, sound art, and acoustic ecology. Artists like Brian Eno have acknowledged her impact on their thinking about sound and space.

Éliane Radigue’s drone compositions created a template that influences ambient, noise, and experimental musicians today. Her slow, evolving textures can be heard in the work of artists ranging from Tim Hecker to William Basinski.

Suzanne Ciani’s commercial sound design work shaped how brands use audio. Every sonic logo, every carefully crafted alert sound, owes something to her pioneering work in musical branding.

Laurie Spiegel’s computer music tools made composition accessible. The software interfaces we use today descend from her work. Every bedroom producer using a laptop is working in a tradition she helped create.

Contemporary artists continue to draw on these legacies. Women in electronic music today stand on the shoulders of these pioneers. The field is more diverse than ever, though gender inequality persists.

Frequently Asked Questions

Conclusion: Women Who Built Electronic Music

The women who built electronic music created a legacy that continues to expand. Their stories remind us that innovation often comes from those outside the mainstream, from people who see possibilities that others miss.

From Clara Rockmore’s theremin performances to Laurie Spiegel’s computer music software, female electronic music pioneers shaped every aspect of the field. They invented instruments, founded institutions, and composed works that changed how we think about sound.

The history of women in electronic music is still being written. New pioneers are emerging, and forgotten figures are being rediscovered. By understanding this history, we honor the past and build a more inclusive future for electronic music.

Women who built electronic music a history is not just a story about the past. It is a living tradition that continues in studios, bedrooms, and performance spaces around the world. The sounds they created still echo in everything we hear today.