Tara Rodgers (Analog Tara) is a multi-instrumentalist composer and historian of electronic music and sound, originally from upstate New York and now based in the Washington, DC area. She earned an MFA in Electronic Music & Recording Media at Mills College and a PhD in Communication Studies at McGill University. Her work has been presented at the Tate Modern (London), the Museum of Contemporary Canadian Art (Toronto), Eyebeam (NYC), on the Le Tigre Remix album, and in many other forums. Recent events include Loop (Berlin), Sonic Circuits (DC), and keynotes for MUTEK (Montreal), Sound : Gender : Feminism : Activism (London), opensignal (Providence), and CTM (Berlin).
Tara is the author of numerous essays on music, technology, and culture, and of Pink Noises: Women on Electronic Music and Sound (Duke University Press, 2010), a collection of interviews that received the 2011 Pauline Alderman Book Award from the International Alliance for Women in Music; her work has been translated into multiple languages and reviewed around the world.
She has taught at Dartmouth College, the University of Maryland, and the School of the Museum of Fine Arts, Boston, and served on the editorial boards of Leonardo Music Journal (2012-20) and Women & Music (2014-15).
See also: Tara Rodgers on Wikipedia
Dr. Tara Rodgers (Analog Tara) is a multi-instrumentalist composer and historian of electronic music. She is the author of Pink Noises: Women on Electronic Music and Sound (2010) and numerous articles on the history of sound and synthesizers. Her music, from analog techno to generative sound installations made with SuperCollider, has been presented around the U.S. and internationally.
I make music and research the cultural history of sound and audio technologies. I am interested in sound as material and metaphor and in the relationships of individual elements to complex wholes in electronic sound and music. My research has explored how people use audio technologies creatively to express identities and form communities, the politics and power of those modes of expression, and the ways that sounds and electronic musical instruments carry ideas about bodies and social differences. Over many years, I have advocated for gender diversity in electronic music cultures and for women to be recognized fully as audio-technical creators and sound innovators.
My research questions emerge from fundamental questions I encounter while making music: Whose lives and priorities are foregrounded in electronic music cultures, whose are backgrounded or marginalized, and why? What are the histories behind familiar waveform icons on a synthesizer interface and the common terms in acoustics textbooks?
I think of my compositions, performances, writings, teaching, and public lectures as complementary pieces of an ongoing art and research project that explores sound and sonic meanings from many angles. My publications take various forms, including ethnography, history, music criticism, curation, artist statements, and interviews. Likewise, as a musician and composer, I rove among multiple instruments, music production tools, and genres. Because I learned to play music by ear, and tinkered with audio technologies and computers from a young age, I have long been interested in the knowledge that emerges from working with sound creatively. I remain captivated by what about sound and audio cultures is to be critiqued, and what in all of it can inspire better worlds.