examines the musical career of the avant-garde composer, accordionist, whose radical innovations of the 1960s, 70s and 80s have redefined the aesthetic and formal parameters of American experimental music. While other scholars have studied Oliveros as a disciple of John Cage and a contemporary of composers Terry Riley, Lou Harrison, Gordon Mumma, and Robert Ashley, resituates Pauline Oliveros in a gynecentric network of feminist activists, writers, artists and musicians. This book shows how the women in Oliveros’s life were central sources of creative energy and exchange during a crucial moment in feminist and queer cultural history. Crafting a dynamic relationship between feminism and music-making, this book offers a queerly original analysis of Oliveros’s work as a musical form of feminist activism and argues for the productive role of experimental music in lesbian feminist theory.