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SOUNDING PLACES: SITUATED CONVERSATIONS THROUGH the SOUNDSCAPE COMPOSITIONS of HILDEGARD WESTERKAMP ANDRA SHIRLEY JEAN Mccartney

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SOUNDING PLACES: SITUATED CONVERSATIONS THROUGH the SOUNDSCAPE COMPOSITIONS of HILDEGARD WESTERKAMP ANDRA SHIRLEY JEAN Mccartney SOUNDING PLACES: SITUATED CONVERSATIONS THROUGH THE SOUNDSCAPE COMPOSITIONS OF HILDEGARD WESTERKAMP ANDRA SHIRLEY JEAN McCARTNEY A thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Programme in Music York University Toronto, Ontario August 1999 copyright page certificate page Abstract In this dissertation, I consider the significance of Hildegard Westerkamp's work to current scholarship in the area of feminist epistemology, and to contemporary electroacoustic music in the genre of soundscape composition, specifically in her receptive, dialogic approach to particular places and their sonic, social, political and technological resonances. In Chapter Two I discuss how Canadian concert composers deal with the idea of Canada as a place within music of the last century, differentiating the generalized myths of nationalist music from Westerkamp's focus on specific places. In Chapter Three, I focus on the position of soundscape composition within electroacoustic music, using feminist epistemology as a critical lens. Chapter Four is a biography of Westerkamp. Chapter Five is about my analytical methods: I bring together critical and feminist theory with James Tenney's gestalt approach to musical analysis, and listener responses. In Chapter Six I discuss the importance of soundwalking to Westerkamp's association with acoustic ecology, to her early compositional formation, as well as to her work as a radio artist, through an analysis of Kit's Beach Soundwalk. The CD ROM also includes a website and an interactive installation about soundwalking. In Chapter Seven, I analyze Cricket Voice, a wilderness piece about the sounds of a cricket in the desert and about the urban person's experience of desert as spiritual refuge and alien environment. Moments of Laughter, the subject of Chapter Eight, is a performance piece based on Westerkamp's musical relationship with her daughter. The CD ROM includes excerpts of Moments of Laughter linked to images and score excerpts. In Chapter Nine, I analyze Breathing Room, a miniature intended to reflect Westerkamp's overall style. I interpret Breathing Room as a representation of a cyborg body, using Donna Haraway's ironic image of the cyborg. The CD ROM includes an installation based on this analysis. In Chapter Ten, I analyze Gently Penetrating Beneath the Sounding Surfaces of Another Place, which is representative of Westerkamp's current international work, based on her experiences of sound in New Delhi. I chronicle the construction of this piece in a section on the CD ROM called "In the Studio." The conclusions consider interactivity in the hybrid form of the dissertation, in the developing relationship between Westerkamp and myself, and in the constructed dialogues of my analyses. Acknowledgments to Hildegard Westerkamp, for opening up her heart and home to me, for trusting me with so much of her life and work, for walking with me in British Columbia, in Ontario and in my dreams to the over two hundred listeners who participated in this study, for the insight, surprise and challenge of their responses to my supervisor, James Tenney, for his inspiring ideas and generous attitudes about composition, contemporary music, and how to listen intently to Beverley Diamond for her clear thinking about identity issues and her excitement about new approaches to fieldwork; for her consistent support, challenge and energy to Jody Berland for fuelling my interests in praxis, cultural theory and contemporary music since we first met seventeen years ago; for continuing to spark new directions in my creative work and research to Lorraine Code for her insights about second-person epistemology and for urging me to develop the "connective tissue" of my writing to Norma Sue Fisher-Stitt, Jane Couchman and Katharine Norman for their insightful commentary on the dissertation in its final stages to the Social Sciences and Humanities Research Council and to York University for providing scholarships to support this research to the Canadian Association for Sound Ecology for their support of my work; particularly to board members Claude Schryer and Gayle Young for presenting the CD ROM in Stockholm to Jean Routhier, Barb Woolner, Andrea Polli, Barry Truax, and the staff of earsay productions, for helping to organize listener response sessions to Tere Tilban-Rios for assistance in negotiating the paperwork to Evy Strong, Don Sinclair and the staff of the Winters Fine Arts Computer Centre, for providing access to computer facilities in a supportive environment to Judith, Jean, and Jeff McCartney; Kate Thomas, Peter van Wyck, Don Sinclair, Donna Warr, Mawgan Macdonald, Karen Pegley, Gary Ferrington, Laurence Montgomery, Joshua Thorpe, and Lauren Pratt for the stimulating conversations about various parts of this study to my daughter, Sian Hughes, for accompanying me to North Toronto C.I. and for mulling over many of the issues raised in that session to my son, Daniel Hughes, for being my science fiction companion (including the all-day Alien series extravaganza) and for the assistance with data entry to my dog Nikita for being my first audience for Moments of Laughter and for stirring me to go for walks and most of all to my partner, P. S. Moore, for his creative collaboration in Soundwalking Queen Elizabeth Park; for organizing the move to Montréal as I wrote; for even on the difficult days, making me laugh Thank you. Table of Contents iv Abstract vi Acknowledgments 1 Chapter One Introduction 18 Chapter Two Musical place in Canada 70 Chapter Three Knowing one's place 131 Chapter Four Westerkamp's Soundings: biography as Breathing Room 163 Chapter Five Methodologies: listening to electroacoustic music, reading responses 193 Chapter Six Soundwalking as subjectivity in environment: Kits Beach Soundwalk 228 Chapter Seven Cricket Voice and the power of wilderness 264 Chapter Eight Moments of Laughter: recording childhood, performing motherhood, refusing to shut up, and laughing 309 Chapter Nine Breathing room and the twofold pressures of the cyborg body 336 Chapter Ten Gently Penetrating Beneath the Sounding Surfaces of Another Place: inside and outside the soundscape 364 Chapter Eleven Conclusions 375 Appendix A North and South: Fernandez reading Ethnocentrism 376 Appendix B Northernness and Canonicity 383 Appendix C Electroacoustic textbooks and chapter headings 384 Appendix D Soundscape works appearing in recorded anthologies of electroacoustic music 396 Appendix E Listener responses: summary information 398 Appendix F Operation of the CD ROM 401 Appendix G Soundwalking Queen Elizabeth Park: compositional process and audience responses 407 References Works by and about Westerkamp; references and bibliographic sources Chapter One Introduction In the winter of 1989, on Peterborough's community radio station, Trent Radio, I heard Hildegard Westerkamp's Cricket Voice. I was transported into a world in which the song of a single cricket reverberated and resonated in an expansive place, in a way that I had never heard before. Moreover, I felt urged to compose. It was an odd sensation. I had grown up listening to and playing a wide variety of music, and had always been drawn to electroacoustic music (even though initially I didn't call it that) since first hearing it in England at a very early age.1 I had heard the work of hundreds of composers, and had never felt drawn to compose electroacoustic music before this. Yet now a powerful desire to record sounds and work with them on tape caused me to go out, rent equipment, and begin. Since then, I have discovered that, through her composition, teaching, and radio work, Westerkamp has had a similar effect on other composers, and is a particular source of inspiration to many women composers in Canada. I believe that this is due to the way she approaches soundscape. In the liner notes to Westerkamp's recent CD, Transformations, American composer Pauline Oliveros says: One can journey with her sound to inner landscapes and find unexplored openings in our sound souls. The experience of her music vibrates the potential for change. Her compositions invite interaction—a chance to awaken to one's own creativity.2 In this dissertation, I consider the significance of Hildegard Westerkamp's work to current scholarship in the area of feminist epistemology, and to contemporary electroacoustic music in the genre of soundscape composition. I focus specifically on her 1 On the program Dr. Who. After thirty years, I can still hear it. I wasn't aware at that time that the music for this British TV show was composed by Tristram Cary, an electroacoustic composer who is perhaps better known in the electroacoustic world for his work on the VCS3 or Putney synthesizer (Chadabe 1997: 53-54; 150-152). 2 Oliveros, Pauline. "The Music and Soundscapes of Hildegard Westerkamp." Transformations CD liner notes. Montréal: DIFFUSION i MéDIA, 1996, 18. receptive, dialogic approach to particular places and their sonic, social, political and technological resonances. The title of this dissertation, "Sounding Places," has several implications. It refers first to Westerkamp's insistence on a way of working that I call sounding, referring to the mariner's slow and careful navigation through unfamiliar waters, finding a channel through invisible topography.3 Westerkamp takes time to listen to places in depth in order to understand them, moving slowly and carefully through landscapes, listening to their resonances. Sounding places is also a term to describe the pieces that she composes, which explore the intricate sonic relationships of active environments, places that are sounding. The title also points to the importance of the concept of place in my discussion: the places where pieces are composed and performed, the mediated locations (such as radio shows or CDs) where the pieces are heard, and the places evoked in the responses of listeners. The relationships between different kinds of mediated places are particularly important to this dissertation, as it takes the form of a CD ROM with accompanying website and book.
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