Terz Magazin has some articles on women in sound art and electroacoustic music: Lauren Redhead on British artists Caroline Lucas, Lauren Sarah Hayes, Claire M. Singer, and Karen Lauke, Michaela Graf on sexuality and sound art, Sabrina Peña Young on Pauline Oliveros, Maggi Payne, Alice Shields, Adina Izarra, Brenda Hutchinson, Annea Lockwood and Elainie Lillios, and finally Julia Gerlach on Maryanne Amacher, Oliveros, Eliane Radigue, Christina Kubisch, Kaffe Matthews and Hanna Hartmann. There are also features on Mia Zabelka and Katharina Klement.
DREAM, Digital Re-Working Re-Appropriation of Electro-Acoustic Music, is
“a EU funded project aimed at preserving, reconstructing, and exhibiting the devices and the music of the Studio di Fonologia Musicale di Milano della Rai. During the 1950s and 1960s, this was one of the leading places in Europe for the production of electro-acustic music, together with Paris and Cologne.
During the project, part of the equipment of the Studio (oscillators and non-linear filters) has been virtually reconstructed and will become part of the permanent exhibit at the Museum of Musical Instruments in Milan. Some of these devices were used by Belgian composer Henri Pousseur to compose Scambi, one of the very first examples of open forms in music. The history of the Studio and the main project results have been published in the book The Studio di Fonologia – A Musical Journey (Ricordi, 2012).”
I hardly need mention that the Studio di Fonologia was the place where Berio, Maderna and Nono created their early electronic works. It seems that the book hasn’t been released yet, but there’s an earlier Italian version available at the Ricordi website.