The woman of the title ('Woman who covers her ears to shut out the noise of the thunder') is an Indian „woman who protects herself from what she believes to be a storm coming - the thundering guns of the 'white God'.
The fisrt part has a primordial character. Through the use of playing techniques which give rise to noisy sound I tried to outline the basic components of the ‘flute machine’ (instrumen + player): Here the computer is used to modify,while not altering the original sound nature, the flute sounds through temporal strecthing/compression and picth transposition. Flute and synthetic sounds follow, in the second part, a ‘cultural’ trajectory. First the flute produces microtonal sequences,then timbral trills on larger melodic intervals and finally multiphonic sounds on single sustained tones. The synthetic sounds become more and more complex from the timbre point of view,pointing out the prosidiac differences with the acoustic instrument.
New 'natures' (a cross fertilization between acoustic and electronic worlds) are travelling in the third and last part. Through a simulation of Live Electronics (all the computer sounds in the third part are deep transformations of the tones played by the flute in concert), the work reaches a no-development stage. Each new cross-sound is presented in isolation.

Roberto Doati (I), born 1953, is a lecturer at the Conservatorio Ottorino Respighi in Latina, at the University of Macerata in Fermo and at the Instituto Italiana dTnformatica Musicale in Rome. He is a graduate of the Conservatorio B. Marcello in Venice and studied Computer music and electronic music under Albert Mayr, Pietro Grossi and Alvise Vidolin.