SINGING MACHINES: MUSICAL INTELLIGENCES AND HUMAN INSTRUMENTS IN SCIENCE FICTION AND FILM
by
Nicholas Christian Laudadio October 8, 2004
A dissertation submitted to the Faculty of the Graduate School of The State University of New York at Buffalo in partial fulfillment of the requirements for the degree of
Doctor of Philosophy Department of English
Copyright by Nicholas Christian Laudadio 2004
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Sincerely felt and appropriately formatted thanks to:
My committee members: Joseph Conte (director), James Bono, James Bunn (with tremendous help along the way from Charles Bernstein and Chip Delaney)
My outside reader: Bernadette Wegenstein
My parents
And most certainly to Meghan Sweeney, without whom all goes poof, &c.
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TABLE OF CONTENTS
INTRODUCTION Setting the Mood Organ: An Introduction 1
CHAPTER ONE The Song of Last Words: Kubrick’s 2001 and the Acoustic Moment of Disconnection 13
CHAPTER TWO Just Like So But Isn’t: Listening AIs, Recursive Disconnection, and Richard Powers’s Galatea 2.2 56
CHAPTER THREE Instrumentes of Musyk: An Organological Approach to Lloyd Biggle Jr.’s “The Tunesmith” 93
CHAPTER FOUR What Dreams Sound Like: Forbidden Planet and a Material History of the Electronic Musical Instrument 135
WORKS CITED 179
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ILLUSTRATIONS
Figure 1: Frank Poole Jogging in the Ship from Stanley Kubrick’s 2001: A Space Odyssey 22
Figure 2: Frank and Dave Discuss HAL’s Fate from Stanley Kubrick’s 2001: A Space Odyssey 41
Figure 3: HAL Disconnected from Stanley Kubrick’s 2001: A Space Odyssey 47
Figure 4: “The Organist and His Wife” by Israel Van Meckenem 94
Figure 5: The Telharmonium from “120 Years of Electronic Musical Instruments” 145
Figure 6: Clara Rockmore 151
Figure 7: Raymond Scott and his Family from Gert-Jan Blom’s Manhattan Research, Inc. 157
Figure 8: Raymond Scott’s “Wall of Sound” from Gert-Jan Blom’s Manhattan Research, Inc. 159
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ABSTRACT
Singing Machines: Musical Intelligences and Human Instruments in Science Fiction and
Film examines the ways that musically-inclined machines and instruments function in science fiction. The texts under investigation here—Stanley Kubrick’s 2001: A Space
Odyssey, Richard Powers’s Galatea 2.2, Lloyd Biggle, Jr.’s “The Tunesmith,” and Fred
Wilcox’s Forbidden Planet (particularly its accompanying electronic musical score by
Bebe and Louis Barron)—all present a mechanical entity that makes possible (through musicality) a profound connection with its “users.” This connection tends to manifest itself as an empathic reaction, linking the mechanical and the organic and bridging larger evolutionary rifts in imagined futures. Chapters one and two address the idea of the
“acoustic moment of disconnection” wherein a fictional artificial intelligence uses song and the act/art of singing as a way to detach itself from its human companions, enacting a digital version of death. I argue that this moment of song or sound is crucial to understanding the way in which science fiction both confronts and confounds the relationships artificial beings have with their creators and their adopted environments.
Following this evaluation of musical intelligences, I proceed to actual and imagined musical instruments that, like the artificial intelligences in the previous chapters, merge and mediate the organic and the electric in the texts that they accompany. In all of these texts, the singing machine suggests that the gulf between human and inhuman can be traversed by an instrument both cultural and scientific, organic and mechanical. By tracing the role that this musical-mechanical instrument plays in fictive texts one can better understand the means by which sound and song help articulate the process of becoming human.
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