In this article the author situates her point of departure in the writings of Hannah Bosma, those concerning the role of the female voice in electroacoustic music. Noting how Bosma almost exclusively focuses upon the musical works of men in her studies, the author seeks to explore how women composers utilise the voice in electroacoustic music; specifically whether their treatment of the female voice in any way differs from the treatment of the female voice by their male counterparts. She contextualises her discussion through the works of four female composers - herself, Christine Baczewska, Alice Shields, and Pamela Z.