Since the 1990s, we’ve been observing attempts of introducing a feminist perspective in the fields of history of music, musicology, and the sociology of music. We can also see this process happening in Slovenia and exYugoslavia more broadly, but not yet in a systematic way. In these areas, the feminist perspective is also mostly excluded from the main scientific currents. Meanwhile, the general public has been building lists of female sonic artists; a quantitative approach with a certain feminist awareness. However, this approach appears to be inadequate, as it is exclusionary and looks for the object of its research in the conventional (dominant) interpretations of the term composer, i.e. precisely where exclusion has already been performed. Furthermore, we observe that the absence of women in the sonic arts isn’t a historical fact, but a process (of erasure). We thus call for a different methodological approach that entails a questioning of the main signifiers and meanings and their redefinition through the feminist discourse and lesbian theory, a scientific orientation towards the areas where compositional practice might not be expected, and finally a new historiography of sonorities which doesn’t merely rely on previous findings, but predominantly leverages new discoveries and their revolutionary potential.
