I would encourage SAN to consider that it may not be the technology that is the problem. Breaking down the detail of women working in music technology, no clear pattern emerges, either in staff or student numbers. At Goldsmiths College, University of London, as at the London College of Printing, School of Media, the studio composition courses were, until very recently, entirely the responsibility of one woman. Glasgow teaches music technology specifically, in addition to integrating aspects of music technology into other courses such as composition, popular music, notation, etc. But in many institutions, both technology and, perhaps more importantly, composition are entirely male-taught.
Students Looking at students, numbers vary equally widely.
Why this might be has not been explored, as far as I know, but one factor which probably merits further investigation is whether women members of staff might, consciously or not, be acting as role models. My correspondent stated that he has never been aware of a gender divide in terms of ability with, or enthusiasm for, technology amongst students at Leeds. Those Leeds composers and technologists with whom he has discussed it, have not stated gender as an issue or motivation, citing culture, language, experience and personality as the fundamentals. In stark contrast, my correspondent teaching on the Electronic Music course at Keele has taught only one woman student compared to about 30 men. Representation at postgraduate level is equally varied.