‘early experiments with tape
music in pieces such as Bye Bye Butterfly
(1965), which morphs and manipulates a
loop taken from Giacomo Puccini’s opera
Madama Butterfly (1904) through a delay
setup. In this pioneering feminist work,
the operatic voice emerges as horrifically
wounded, sinister and damaged, presenting,
as Oliveros puts it, a ‘farewell not only to
the music of the nineteenth century but
also to the system of polite morality of that
age and its attendant institutionalised
oppression of the female sex’.’
https://centaur.reading.ac.uk/57270/1/160225%20%E2%80%93%20Afterall%2041%20-%20proofs%20Lina.pdf