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Pauline Oliveros and the Quest for Musical Utopia Hannah Christina Mclaughlin Brigham Young University

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Pauline Oliveros and the Quest for Musical Utopia Hannah Christina Mclaughlin Brigham Young University Brigham Young University BYU ScholarsArchive All Theses and Dissertations 2018-05-01 Pauline Oliveros and the Quest for Musical Utopia Hannah Christina McLaughlin Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Music Commons BYU ScholarsArchive Citation McLaughlin, Hannah Christina, "Pauline Oliveros and the Quest for Musical Utopia" (2018). All Theses and Dissertations. 6828. https://scholarsarchive.byu.edu/etd/6828 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in All Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Pauline Oliveros and the Quest for Musical Utopia Hannah Christina Johnson McLaughlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Steven Johnson, Chair Jeremy Grimshaw Michael Hicks School of Music Brigham Young University Copyright © 2018 Hannah Christina Johnson McLaughlin All Rights Reserved ABSTRACT Pauline Oliveros and the Quest for Musical Utopia Hannah Christina Johnson McLaughlin School of Music, BYU Master of Arts This thesis discusses music’s role in utopian community-building by using a case study of a specific composer, Pauline Oliveros, who believed her work could provide a positive “pathway to the future” resembling other utopian visions. The questions of utopian intent, potential, and method are explored through an analysis of Oliveros’s untraditional scores, as well as an exploration of Oliveros’s writings and secondary accounts from members of the Deep Listening community. This document explores Oliveros’s utopian beliefs and practices and outlines important aspects of her utopian vision as they relate to three major utopian models: the traditional “end- state” model, the anarchical model, and the postmodern “method” utopian model. Oliveros exhibits all three models within her work, although this thesis argues that she is, for the most part, a method utopian. While her ceremonial group improvisations like Link/Bonn Feier resemble anarchical works by John Cage, they exhibit a greater interest in the past and in process than most anarchical models allow. Likewise, while her visions of a future aided by AI and bio- technologies appear end-state, her improvisational works with her Electronic Instrument System (EIS) suggest a more process-based, method utopian approach. Her Deep Listening practice is deeply method-utopian, and her Center for Deep Listening can be viewed as an attempt at bringing these method utopian principles to the real world. Keywords: Pauline Oliveros, utopia, postmodernism, John Cage, utopian novel, electronic music, Deep Listening, improvisation, ceremonial music, Ray Kurzweil, artificial intelligence, biotechnology, speculative fiction ACKNOWLEDGEMENTS I would like to express my deep appreciation to the members of my committee, who gave of their time and talents to assist me in completing this thesis. My advisor Dr. Steven Johnson was especially gracious in guiding me through the writing process, encouraging me in my ambitions, and challenging me to achieve a high standard of quality. Drs. Jeremy Grimshaw and Michael Hicks were also integral to this process, and I am thankful for them. Other faculty who have played a part in the completion of this thesis include Brian Harker, David Day, and Christian Asplund. I also am deeply indebted to Dr. Tomie Hahn, who permitted me to interview her for this thesis. Of course, I cannot forget my dear husband Stephen, whose patience and support continues to this day as I continue following my dreams of becoming a musicologist. I cannot express enough how thankful I am for his companionship. TABLE OF CONTENTS TITLE PAGE ................................................................................................................................... i ABSTRACT .................................................................................................................................... ii ACKNOWLEDGEMENTS ........................................................................................................... iii TABLE OF CONTENTS ............................................................................................................... iv INTRODUCTION .......................................................................................................................... 1 Music and Utopia ........................................................................................................................ 1 The Utopian Oliveros .................................................................................................................. 4 Goals of this Thesis ..................................................................................................................... 6 CHAPTER 1: An Overview of Utopian Models ............................................................................ 8 The End-State Utopian Model .................................................................................................. 10 New Utopian Models ................................................................................................................ 13 Anarchist Utopian Models ........................................................................................................ 18 Method (or Process) Utopian Models ....................................................................................... 21 Utopian Themes and Concepts ................................................................................................. 28 Alienation and Distance ........................................................................................................ 29 Human Needs ........................................................................................................................ 30 Group vs. Individual ............................................................................................................. 30 Human Nature ....................................................................................................................... 31 Education of Desire............................................................................................................... 32 Why Study Utopia? ................................................................................................................... 34 CHAPTER 2: Oliveros, Cage, and Musical Anarchism .............................................................. 44 John Cage and Anarchical Music ............................................................................................. 48 New Utopias: Link and Bonn Feier .......................................................................................... 61 CHAPTER 3: The Deep Listening Practice as an Everyday Method Utopia .............................. 81 Hierarchy in Deep Listening ..................................................................................................... 88 Retreats and Everyday Utopias ................................................................................................. 94 Deep Listening in the Real World: An Everyday Utopia ......................................................... 98 The Challenges of Deep Listening .......................................................................................... 101 The Leadership and Legacy of Pauline Oliveros .................................................................... 106 CHAPTER 4: Oliveros, Method Utopia, and the Science Fiction Imagination ........................ 112 Oliveros’s Utopian Vision ...................................................................................................... 112 Kurzweil and Utopia ........................................................................................................... 113 iv Improvisation ...................................................................................................................... 116 Quantum Computing ........................................................................................................... 119 “Space is the Place—I Hear You Sun Ra!” ........................................................................ 120 From Practice to Theory to Practice ....................................................................................... 122 Early Love of Incidental Sounds......................................................................................... 126 Echoes from the Moon ........................................................................................................ 129 Interaction with Machines: The EIS and Improvisation ..................................................... 133 The Spiritual Cyberpresence ................................................................................................... 137 CONCLUSION ........................................................................................................................... 142 Music’s Unique Role .............................................................................................................. 143 APPENDIX: List of Utopian Novels ......................................................................................... 146 Traditional (End-State) Utopian Literature (Written between 1516 and 1950) ..................... 146 Late 20th Century Utopian Science
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