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Sirens Cyborgs Sound Technologies and the Musical Body Lucie Vágnerová Submitted in partial ful ?llment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY C ? Lucie Vágnerová All rights reserved CABSTRACT Sirens Cyborgs Sound Technologies and the Musical Body Lucie Vágnerová This dissertation investigates the political stakes of women ? s work with sound technologies engaging the body since the s by drawing on frameworks and methodologies from music history sound studies feminist theory performance studies critical theory and the history of technology Although the body has been one of the principal subjects of new musicology since the early s its role in electronic music is still frequently shortchanged I argue that the way we hear electro-bodily music has been shaped by extra-musical often male-controlled contexts I o ?er a critique of the gendered and racialized foundations of terminology such as ??extended ? ??non-human ? and ??dis embodied ? which follows these repertories In the work of American composers Joan La Barbara Laurie Anderson Wendy Carlos Laetitia Sonami and Pamela Z I trace performative interventions in technoscienti ?c paradigms of the late twentieth century The voice is perceived as the locus of the musical body and has long been feminized in musical discourse The ?rst three chapters explore how this discourse is challenged by compositions featuring the processed broadcast and synthesized voices of women I focus on how these works stretch the limits of traditional vocal epistemology and in turn engage the bodies of listeners In the ?nal chapter on musical performance with gesture control I question the characterization of hand arm gesture as a ??natural ? Cmusical interface and return to the voice now sampled and mapped onto movement Drawing on Cyborg feminist frameworks which privilege hybridity and multiplicity I show that the above composers audit the dominant technoscienti ?c imaginary by constructing musical bodies that are never essentially manifested nor completely erased CTable of Contents Acknowledgements iii Introduction Chapter One w Joan La Barbara ? s Cyborg Manifesto The Vocal Body Sirens Cyborgs Talking Dolls Berberian La Barbara and the Female Vocal La Barbara ? s Mother Cyborg Chapter Two w Voicemail and Anti-Mediation in the Music of Laurie Anderson Concerts Publics Listening Regimes Vocal Gender and Other White Coats Anti-mediation and the Answering Machine Listening and Emergency Mic Check Aural Regimes as a Feminist Issue Chapter Three w Queering Disembodiment Vocal Synthesis Wendy Carlos and Stanley Kubrick Disembodied Sounds Early Modes of Vocal Synthesis Wendy Carlos Astronaut Alien Synthesizing Beethoven March in A Clockwork Orange A New Universal Brotherhood i CChapter Four w Denaturalizing Musical Gesture Laetitia Sonami and Pamela Z Keyboards vs Composed Instruments Gesture Nature Normalcy Video Games and Sign Language in the Work of Laetitia Sonami Prostheses and Extensions Digitality and the Body in the Work of Pamela Z Hands and Voices Conclusion Listening and Labor Works Cited Discography Video and Film ii CAcknowledgements I have been lucky to formulate questions and