The music industry, including classical music, has long been impacted by gender-based discrimination. From the struggles of historical figures like Nannerl Mozart, Clara Wieck Schumann, and Amy Beach to the ongoing challenges women continue to face today, progress has been slow and hard-earned.
While performers and composers often receive the spotlight in classical music contexts, music producers and audio engineers are crucial to how music is created, recorded, and shared in the modern world. It’s worth noting that few classical musicians receive formal education in music technology and audio production, and many have had little contact with this aspect of music making, as classical music tends to be performed live more than it is recorded. For those who wish to develop these skills, they often must do so through self-study, unless they choose to specialise in this field and pursue further study.
In recent years, initiatives have emerged to support women in music production, with organisations, collectives, and projects working to inspire and empower those interested in this area of music creation, opening doors that were once closed. In this blog post, we will explore the background of audio engineering in classical music, and introduce readers to some initiatives supporting women in this aspect of music!
Music Production in Classical Music
Although classical compositions have (usually) traditionally been intended for live performance, today’s audiences increasingly engage with the genre through recordings. This shift has made classical music more accessible, breaking down barriers like geographic limitations, mobility challenges, and financial constraints, allowing listeners worldwide to enjoy these works without attending concerts in person.
Some classical music works WERE specifically designed for the recording medium, such as Gian Carlo Menotti’s opera "The Old Maid and the Thief". Composed as a radio opera, it was crafted with the understanding that its unique storytelling and character development would work in a recorded format. Classical and classical-inspired film scores, like Sergei Prokofiev's score for "Alexander Nevsky", were also conceived with the recording medium in mind, using orchestration that enhances the cinematic experience.
Other notable examples of the crossover between live classical music and recorded music include avant-garde works such as John Cage's "Imaginary Landscape No. 1", which features innovative use of radio and recorded sounds, pushing the boundaries of traditional music composition. Contemporary classical compositions often incorporate digital instruments and sounds, exemplified by works like Max Richter’s "Sleep", which combines live performance with electronic elements and soundscapes specifically designed for immersive listening experiences. These examples highlight how the recording medium has not only expanded the reach of classical music but also inspired new creative possibilities within the genre.
The recording, mixing, and mastering phases of classical music production present unique challenges that demand specialised skills. Producers and audio engineers must navigate specific factors, such as the acoustic complexity of an orchestra or the dynamic range of an opera singer. The microphone setup for an orchestra is quite different from that of a rock band, requiring careful positioning to capture the ensemble's full sound. Meticulous management of equalisation, reverb, and pitch correction is crucial to preserving the authentic character of a live performance.
Skilled producers and engineers do not need to be classical musicians themselves to grasp the best practices for recording this genre. They recognise that specialised techniques are essential in classical music production to create polished, cohesive final tracks that are suitable for playback on any audio device. By leveraging their expertise in sound engineering, they can enhance the listening experience while staying true to the integrity of the music.
Sound Garden : classical music immersion
Just a short word about Sound Garden! Founded by classical singer Kayla Collingwood, Sound Garden is an online hub to engage with classical music, no matter your age or level of knowledge or experience! Through online content, digital products, and more, Sound Garden's aim is to provide resources for discovering classical music in all its forms.
Women in Music Production Initiatives
Women are increasingly taking on technical roles in music production, bringing fresh perspectives and innovations to both classical and contemporary genres. As more women develop their skills in the technical aspects of music creation, they not only enhance classical recordings but also contribute their knowledge to various production projects. This growing presence is supported by numerous initiatives, collectives, and projects empowering women in music production.
Photo of Isobel Anderson by Georgina Piper
The podcast "Girls Twiddling Knobs" began in 2020 as a response to a lack of music tech resources targeting women and gender non-conforming people. Hosted by Isobel Anderson, the podcast episodes present deep dives into the stats, industry context and individual stories that bring voice to the experiences of women in music technology today, and nuanced and intimate interviews between some of the most innovative artists making music with technology.
Three episodes of their Season 6 release (episodes dropping from October 2024) in particular hold relevance for listeners who are interested in classical music:
An interview with contemporary classical/folk duo Fran & Flora discussing their process of co-producing their most recent album, Precious Collection. These artists have long-standing individual careers as contemporary classical and folk instrumentalists, but their collaborative project has allowed them to rework these genres through electronics and improvisation. This conversation focuses on the production decisions behind Precious Collection, how this process of producing the album together has informed their understanding of the term producer and their experience as women in music.
An interview with Rebekah Reid, a classical violinist and composer who shares her use of live looping and electronics and why she believes these technologies could be more embraced in the world of classical music. As a woman of colour in classical music, she also shares her experiences in music from this perspective.
The season finale special: a binaural journey through the composition process of Shiva Feshareki and Sarah Angliss. Both composers have been commissioned to write new works for Icebreaker Ensemble by the Science Museum Group, with performances being held in February at both The Science Museum in London and The National Science and Media Museum in Bradford. The episode explores the process of commissioning as well as how composers refine and develop their pieces when writing for a specific ensemble and performance concept.
You can listen to the podcast here:
Resources
Here is a list of some other initiatives of interest related to women in music/music production (contact Sound Garden if you know of others which should be added to the list, especially if they are focused on classical music!):
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