Pauline Oliveros is one of America's most vital composers. Deep Listening®, her lifetime practice, is fundamental to her composing, performing and teaching. She serves as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, Troy NY; Darius Milhaud Artist-in-residence at Mills College, Oakland CA; and president of the Deep Listening Institute in Kingston NY.
For Orchestra
Live at the Meridian - India Cooke, violin; Pauline Oliveros, accordion; Karolyn van Putten, voice and tar - "The Circle Trio provides mesmerising proof that great improvisation depends not only on virtuoso playing, but also on virtuoso listening: carefully, joyfully, soulfully, with your whole being" - Fred Frith
For winds, brass and chorus.
Lion's Eye for Gamelan Ensemble
Lion's Eye for Gamelan was commissioned in 1985 by Barbara Benary for Gamelan Son of Lion. Lion's Eye for Synthesizer was commissioned concurrently by Neil Rolnick for iEAR Presents at Rensselaer Polytechnic Institute. Both versions were performed in 1985. The intention to combine both pieces in order to expand the tempo range of the Gamelan was first realized in May of 1989 in performances by the Berkeley Gamelan in Oakland and San Francisco, California under the direction of Daniel Schmidt. This version of Lion's Eye is recorded on this disc. The duration of "Lion's Eye" is forty-five minutes. "Lion's Tale" (1989) is composed of layered polymetrical, polyrhythmical patterns. The patterns are played at speeds ranging up to 1800 per minute. The composer designed patterns are generated by the computer program. "Lion's Tale" may be created in a new version every time the program is run. "Lion's Tale" also exists in a MIDI version for a keyboard performer. Both versions are available from Deep Listening Publications. Known internationally as a composer, accordionist and teacher, Pauline Oliveros's work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros' compositions have been performed worldwide.
Unique score for each performer which encourages creative interaction with the material. For soloist or any ensemble. The score for each realization of Portraits is personalized. Important: when ordering, please include
The Date, Place and Time of birth of the performer.
His/her instrument and its full range (low and high).
Philip Gelb (shakuhachi) with Chris Brown (electronics), Dana Reason (piano), Pauline Oliveros (accordion, conch), and Jon Raskin (saxes). Includes The Space Between improvisation by Gelb, Oliveros, Raskin, and Reason and Waves by Chris Brown for shakuhachi and interactives electronics.
The Well and the Gentle (1983)
The Well and the Gentle was commissioned by the Relache new music ensemble and was recorded on the Hat Art label. One of the more popular of Oliveros' text based intuitive pieces, it is a work of sublime beauty. Musicians are given a different scale for each of the two sections with one rhythmic motif for the second section and instructions for musical interaction.
15th anniversary CD "These creative and interpretive musicians are themselves active collaborators bringing new work to life, crossing the lines that formerly divided schools, styles, categories and even countries".
"This is a wonderful group of musicians with wonderful tone, great ensemble (going beyond the ordinary definition of the word to more 'conceptual' aspects for those pieces to which they contribute their own creative ideas), and interest in a wide range of styles." - Fanfare
Gathering Together is for piano eight hands
One of the most unexpected yet fruitful partnerships of recent years: in the mid-1990s, Pauline Oliveros, electronic music pioneer and sage of the environmental-drone, began working with Reynols, the prolific and resolutely undefinable Argentinian group. Their first joint effort sent Oliveros' music through the rigours of Reynols' heavily processed studio treatments; THE MINEXCIO CONNECTION: LIVE! AT THE ROSENDALE CAFE finds them collaborating on-stage in real time. Recorded in August 2000 during Reynols' first trek through North America, they offered up a version of "Six For New Time" (originally composed by Oliveros for Sonic Youth's GOODBYE 20th CENTURY LP), along with idiosyncratic throat-singing and hypnotic dream/dronescapes. The venue may have been a small cafe in rustic upstate New York, but the sonic results sound like emanations from the deepest of Deep Listening caves under the earth. - Roaratorio
"The Minexcio Connection: Live! At The Rosendale Cafe" is an excellent live collaboration between the one and only Pauline Oliveros and the equally singular Reynols (or No Reynols in this case, since Miguel Tomasin was not present). If I have my facts right, and I probably don't, this is one of Reynols' first American live performances, and I couldn't think of a better christening than as trio support for Oliveros, who of course is one of the earliest proponents of the concept of Deep Listening, which has has an undeniable impact on many of today's tribal, minimal, noise brigade. In this capacity, Oliveros plays accordion and some unorthodox throat singing as Reynols handles most of the other noise makers (ranging from electric guitar and "cow's nails" to mouth harp, marmonia, didgeridoo, etc), but very little of this could really be considered noise. Environmental free drone bliss is closer to the mark, as these four extended tracks (including "Six For New Time," which was covered recently on their "Goodbye 20th Century" LP) paint living sound pictures populated by evolving contemplative hiss, hums and reverberating textures that will stay with you long after the needle's lifted. This is the ultimate in spontaneous dream music, and I also happen to think it's pretty cool that Miguel is credited with "inaudible presence." - Lee Jackson THE BROKEN FACE (SWEDEN)
An exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be affected by profound attention to the sonic environment. Written by Pauline Oliveros.
Trio for Flute, Piano and Page Turner
Zeitgeist - If Tigers Were Clouds
Eight decades of women in experimental music. Featuring - Pauline Oliveros, Mildred Couper, Annie Gosfield, Eleanor Hovda, Beth Custer, Johanna M. Beyer and Yoko Ono.
An intermedia piece for indeterminate numbers of performers.
The long awaited soundtrack of the Ghostdance music and dance collaboration between Oliveros and Paula Josa-Jones, commissioned by Lincoln Center Out-of -Doors.
A meditation for any number of voices
This release by Oliveros takes us back to the beginnings of her innovative journey, which she described in The Wire as "There was only one place I was interested in going with what I needed to express and that was inside." The music dates from 1966-67 at Mills College in California when Oliveros was using a Buchla Box synthesizer.
Sound Patterns (1961) is a musical piece or composition for a cappella mixed chorus by Pauline Oliveros. Oliveros won the Gaudeamus International Composers Award in 1962 with this work.
Rather than a traditional text, the work is constructed of phonetic sounds chosen on the basis of their timbre.
Pauline Oliveros' electronic music from the 1960s. 'No Mo' and 'Something Else' were created at the University of Toronto Electronic Music Studio, using tone generators, noise, and tape delay, and they demonstrate the vast musical range of sounds possible even with simple technical resources. 'Bog Road', along with other of Oliveros' 'Bog' series which was inspired by a frog pond behind her studio on campus, was created with the Buchla Electronic Music Box in 1967 at the Mills Tape Music Center (now the Center for Contemporary Music)
Out of the Dark" is a design of interlocking circles, some containing numbers and others containing brief instructions. The piece encourages listening through basing your musical choices on those of the other musicians
Oliveros' solo works The Gentle and A Love Song are included on this hard-to-find two-record import recorded in a drained reservoir in Cologne, Germany. Fourteen other composer/artists are featured in performances. (1985)
Two 12" LP record
This new volume of collected writings by Pauline Oliveros is presented in an unique polytextural format includes essays and scores along with a CD. Introduction by Jackson Mac Low. Excerpt. Publication of this book by Drogue Press has been made possible with the assistance of The Institute for Electronic Arts, School of Art and Design at Alfred University with generous support from Pamela Joseph.
Softcover, includes CD
For Chorus.
Recorded live at the Center for New Music and Audio Technologies, Berkeley, CA, November 2 & 3, 2002.
The Space Between brings together the freedom of spontaneous improvisation with a number of diverse traditions and ideas, not the least of which is the legendary Pauline Oliveros’ Deep Listening concept. In the Cadence review of their 2001 debut, The Space Between with Barre Phillips, Frank Rubolino wrote, “As a unit, they speak in a broken tongue of rarified beauty that is demanding but fully rewarding." This release once again pairs this esoteric trio with a world-renowned bassist in Jöelle Léandre.
More than just an award-winning instrumentalist, Léandre is one of the few artists able to world premiere works by new music composers like John Cage, actively compose and premiere her own music on a world stage, and also collaborate with the best creative improvisers playing today.
Musicians: Pauline Oliveros (accordion), Philip Gelb (shakuhachi), Dana Reason (piano), Joelle Leandre (bass) - .482music
For violin, cello and piano.
Lion's Eye for Gamelan was commissioned in 1985 by Barbara Benary for Gamelan Son of Lion. Lion's Eye for Synthesizer was commissioned concurrently by Neil Rolnick for iEAR Presents at Rensselaer Polytechnic Institute. Both versions were performed in 1985. The intention to combine both pieces in order to expand the tempo range of the Gamelan was first realized in May of 1989 in performances by the Berkeley Gamelan in Oakland and San Francisco, California under the direction of Daniel Schmidt. This version of Lion's Eye is recorded on this disc. The duration of "Lion's Eye" is forty-five minutes. "Lion's Tale" (1989) is composed of layered polymetrical, polyrhythmical patterns. The patterns are played at speeds ranging up to 1800 per minute. The composer designed patterns are generated by the computer program. "Lion's Tale" may be created in a new version every time the program is run. "Lion's Tale" also exists in a MIDI version for a keyboard performer. Both versions are available from Deep Listening Publications. Known internationally as a composer, accordionist and teacher, Pauline Oliveros's work in improvisation, electronic techniques, teaching methods, myth and ritual, and meditative and physical consciousness raising has changed the course of American music. She left the University of California at San Diego in 1981, at the rank of full professor, in order to support her ideas, creative projects and collaborations. All of her work emphasizes attentional strategies, musicianship and improvisational skills. Oliveros' compositions have been performed worldwide.
Fifteen pieces for audience participation.
"Originally released on the Table of the Elements label and long out of print, this version of the recording contains an additional 30 minutes of material not included on the original release. Recorded live on March 20, 1998 at Hallwalls, Buffalo, NY. Primordial/Lift is based on information concerning the shift in the resonant frequency of the earth from 7.8hz to 13hz given in Awakening to the Zero Point by Gregg Braden, Radio Bookstore Press (1997). According to Braden, the resonant frequency of the earth was measured as 7.8hz in 1960 and by 1994 the measurement was at 8.6hz and it will rise to 13hz by 2010. At the same time the magnetic fields of the earth are diminishing in strength towards zero point. By the time that 13hz is established as the resonant frequency the magnetic fields will reverse their polarity - North will become South and vice versa. The acceleration from 7.8hz to 13hz of the earth's resonant frequency is represented in Primordial/Lift by a low frequency oscillator." Pauline Oliveros - accordian & electronics, voice; Andrew Deutsch - electronics & toy piano; Tony Conrad - electric violin & ring modulator; Anne Bourne - cello & voice; Alexandria Gelencser - electric cello; David Grubbs - harmonium; Scott Olson - low frequency oscillator.