Podcast appearances and mentions of Pauline Oliveros

Episode 175 Chapter 34, Live Electronic Music— Foundations. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 34, Live Electronic Music— Foundations from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC FOUNDATIONS   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     John Cage, “Radio Music” (1956) from John Cage. Performed on radios by Gianni-Emilio Simonetti, Juan Hidalgo, Walter Marchetti. Each of these performers used a Panasonic multi-band portable Radio Model RF-1600 B receiver. 04:33 01:40 2.     John Cage, “Cartridge Music” (1960) from Music For Merce Cunningham. Phonograph Cartridges, Amplified Small Objects, David Tudor, Michael Pugliese, Takehisa Kosugi. Recorded at Paris, France in September 1988. 18:53 06:12 3.     Alvin Lucier, “Music for Solo Performer” (excerpt) (1965). Live recording from 1975. Brainwave amplification performed by Alvin Lucier; electronics, Nicolas Collins. 11:46 25:04 4.     Gordon Mumma, “Horn” (1965) from Live-Electronic Music. Electronic modification of horn sounds. Horn, Gordon Mumma; Cybersonic console, designed by Mumma, operated by William Ribbens; Recorded by George Cacioppo; Voice, George Cacioppo, Robert Ashley. For a hornist, two voices, and a cybersonic console operator. 09:36 36:48 5.     John Cage, “Variations V” (1965). Performance on November 11, 1966, Théâtre de Champs Élysées, Paris. Performers, John Cage, David Tudor, Gordon Mumma. 39:57 46:10 6.     David Tudor, “Bandoneon ! (A Combine)” (1966) from The Art Of David Tudor 1963–1992. Composed and performed by David Tudor. 14:15 01:26:43 7.     David Behrman, “Runthrough” (1967–68) from Wave Train. For homemade synthesizers and photocell mixers. Homemade Synthesizer, Photocell Mixer, Alvin Lucier, David Behrman, Gordon Mumma, Robert Ashley. 12:11 01:40:26 8.     Gordon Mumma, “Telepos” (1972) from Music For Merce 1952-2009.  Recorded live on February 2, 1972, La Fenice, Venice. Controlled Sounds Activated By Dancers With Telemetry-accelerometer Belts, Gordon Mumma. 18:38 01:52:34 9.     Pauline Oliveros, Rehearsals for “In Memoriam, Nikola Tesla” (excerpt) (1972). Recorded live September 1972, Köln, Germany.  No performers listed. 11:56 02:11:06 10.   Robert Ashley, “Automatic Writing” (1974–79) from Automatic Writing.  Electronics, Polymoog, Voice, Words, Produce, Recorded, Mixed by Robert Ashley; Mixing Assistance, Rich LePage; Switching Circuit Designed and Built by Paul DeMarinis; Translated by Monsa Norberg; Voice, Mimi Johnson. 46:00 02:23:04   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Ian McMillan's guests are the Scottish Makar Peter Mackay, Jamaican poet Lorna Goodison, as well as Indian dancer and poet Tishani Doshi, and the musician Scanner.Scanner lets us into the baffling and mysterious 'poetry' of album titles by Autechre, Aphex Twin and other electronic music artists. Scanner has worked with Laurie Anderson, and Pauline Oliveros amongst other artists, as well as creating sound design for installations at museums, at an airport and for dancers at the London Olympics. For this week's Verb Scanner has created sound design for poems by Peter Mackay, inflected with uncertainty and nostalgiaWe hear new poetry by Peter Mackay, in Gaelic and English, written in response to 'O Wert Thou in the Cauld Blast' by Robert Burns. Peter explains why Burns is a great poet for uncertain times, and why the Gaelic word 'ta' is so useful. His poems can be also heard at the Poetry Jukebox, at the Linenhall Library in Belfast (part of a set of curated poems by ten different writers responding to work in the 'Fragments of Scottish Poetry Project').Queen's Gold Medal winning poet, and former Poetry Laureate of Jamaica Lorna Goodison explains why Miss Lou, (the ground-breaking champion of nation language in Jamaica, and a good friend to Lorna) is a key character in her new version of Dante's Inferno (Carcanet).Indian Poet and dancer Tishani Doshi presents the next in our recurring series 'The Neon Line' - where we celebrate a stand-out line from a poem, and work out why it's powerful, beautiful, or memorable. Tishani also shares new poetry that explores the connection between human emotions and the natural world.https://scannerdot.com/ https://www.tishanidoshi.com/ https://linenhall.com/event/launch-of-the-mcadam-poetry-jukebox/

Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music.   Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG)   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2.     Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3.     John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4.     John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5.     Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6.     Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7.     Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8.     Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9.     Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10.   Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11.   Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12.   Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13.   Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14.   Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Episode 160 Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.   Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley's first works for tape. 14:23 01:38 2.     Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961).  Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav 04:36 15:56 3.     Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008. 12:45 20:30 4.     Steve Reich, “Melodica” (1966). Tape piece and the last of Reich's works before moving onto instrumental composition in his minimalist style. 10:42 33:16 5.     Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year. 10:29 44:08 6.     Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds. 06:58 54:36 7.     Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system. 33:17 01:01:30 8.     Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records. 32:01 01:35:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

In de jaren 60 van de vorige eeuw bouwde componist Pauline Oliveros haar eigen synthesizer en ontdekte hoe ze met elektronische muziek de door haar zeer gewaardeerde 'oude' muziek kon laten opgaan in haar nieuwe klankwereld. In Bye Bye Butterfly hoor je de ultieme symbiose tussen deze twee werelden.  En verder hoor je muziek van Bosmans, Assad, Saariaho, Tower, Wantenaar en Monk. En ja, dat zijn allemaal vrouwen; het is tenslotte vrouwendag en deze week kwam ook nieuw onderzoek van Buma Stemra uit: er is nog veel ongelijkheid tussen mannen en vrouwen in de muziek. 

Michael Ned Holte is a writer, independent curator, and educator based in Los Angeles, as well as the Associate Dean for the School of Arts at CalArts.He has held exhibitions at the Armory Center for the Arts in Pasadena, the MAK Center for Art and Architecture at the Schindler House, and the Hammer Museum, to name only a few. He has also written monographic essays on artists including Charles Gaines, Richard Hawkins, Alice Konitz, Shio Kusaka, Caitlin Lonegan, Roy McMakin, Steve Roden, Clarissa Tossin, and Shirley Tse. On today's episode, Stephen Anthony Rawson talks with Michael about his recent book, Good Listener: Meditations on Music and Pauline Oliveros. This book is a result of a year-long performance of Pauline Oliveros's Sonic Meditation XXI, which asks the question: “What constitutes your musical universe?”

Episode 156 Chapter 17, John Cage in the United States. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Playlist: EARLY ELECTRONIC MUSIC IN THE UNITED STATES Time Track Time Start Introduction –Thom Holmes 01:25 00:00 1.     Louis and Bebe Barron, “The Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin (who's voice you will hear). Tape composition produced at the Barron's studio (New York). 09:01 01:38 2.     Williams Mix (1952) by John Cage. Tape composition produced at the Barrons' studio (New York). 05:42 10:40 3.     Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) Tape composition produced at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 02:54 16:20 4.     Henry Jacobs, “Sonata for Loudspeakers” (1953-54). Tape composition produced at radio station KPFA-FM in Berkeley. 09:29 19:12 5.     Jim Fassett, track “B2” (Untitled) (1955). From the album, Strange To Your Ears. Tape composition produced at CBS radio. 08:15 28:38 6.     Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach), “Nola” (Arndt) and “Home, Sweet Home” (1955). Disc composition created on RCA Mark I Music Synthesizer at Princeton University. 05:26 36:54 7.     John Cage, “Fontana Mix” (1958). Tape composition produced by Cage at Studio di Fonologia of the Italian Radio (Milan). 11:33 42:33 8.     Tod Dockstader, “Drone” (1962). Tape composition produced privately by the composer (Los Angeles). 13:24 54:06 9.     Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965). Tape composition produced at the studio for Experimental Music of the University of Illinois. 02:52 01:07:30 10.   Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Tape composition produced at the Electronic Music Studio of Brandeis University. 06:12 01:10:20 11.   Pauline Oliveros, “Bye Bye Butterfly” (1965). Tape composition produced at the San Francisco Tape Music Center. 08:05 01:16:32 12.   Olly W. Wilson, “Cetus” (1967). Tape composition produced at the studio for Experimental Music of the University of Illinois. 09:18 01:24:36   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 146 Chapter 08, Tape Composition and Sound Editing. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 08, Tape Composition and Sound Editing from my book Electronic and Experimental music.   Playlist: Classic Tape Composition Techniques   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1 Pierre Schaeffer, “Cinq études de bruits: Étude violette (1948). Early application of backwards sounds using a turntable 03:19 01:34 2 Pierre Henry, “Le Microphone bien tempéré” (1950– 52). Used reverberation. 24:48 04:50 3 Otto Luening, “Invention in Twelve Tones” (1952). Used tape echo. 03:47 29:37 4 Morton Feldman, “Intersection” (1953). Used leader tape as a composition tool to add patches of silence. 03:30 33:18 5 György Ligeti, “Glissandi” (1957). Extensive use of tape speed variation and backwards sounds. 07:45 33:44 6 Henri Pousseur, “Scambi” (1957– 58). Explored white noise, filtering, and reverberation. 06:34 44:20 7 Herbert Brün, “Anepigraphe” (1958). Tape music with voices edited into the mix, produced in the WDR studio in Cologne. 07:46 50:56 8 Terry Riley, “Music for the Gift” part 1 (1963). One of the first uses of tape delay with multiple tape recorders. 05:45 58:42 9 Pauline Oliveros, “Beautiful Soop” (1967). Used multiple tape echo signals. 27:46 01:04:24 10 Violet Archer, “Episodes” (1973). Using two Putney synthesizers, a bank of 10 oscillators, mixer, reverb, ring modulation, and filtering.  08:46 01:32:10   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 144 Chapter 06, Analog and Digital Synthesis Basics, Part 1. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 06, Analog and Digital Synthesis Basics, Part 1 from my book Electronic and Experimental music.   Playlist: Early Experiments and Synthesizers   Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1 Halim El-Dabh, “The Expression of Zaar” (alt. title Wire Recorder Piece) (1944). Middle East Radio, Cairo. Composed using a magnetic wire recorder. 01:53 01:40 2 Hugh Le Caine, “Dripsody” (1955). Canada. Using Le Caine's special purpose tape recorder. 02:00 03:30 3 Josef Anton Riedl, “Folge von 4 Studien” (1959). Siemens Studio für Elektronische Musik. 02:35 05:30 4 Milton Babbitt, “Ensembles for Synthesizer” (1961– 63). Using RCA Mark II Electronic Music Synthesizer 10:41 08:06 5 Mauricio Kagel “Antithese” (1962). Siemens Studio für Elektronische Musik. 09:22 18:46 6 Konrad Boehmer, “Aspekt” (1966).  State University Electronic-Music Studio, Utrecht. 15:15 28:08 7 Pauline Oliveros, “I of IV” (1966). University of Toronto Electronic Music Studio. Using Hugh Le Caine's tape loop system. 25:29 43:34 8 Alice Shields, “Study for Voice and Tape” (1969). Columbia– Princeton Electronic Music Center. 05:14 01:08:52 9 Charles Wuorinen, Time's Encomium (1968– 69). Using RCA Mark II Electronic Music Synthesizer. 30:47  01:14:06 10 Douglas Leedy, “Entropical Paradise I” (1970). Side 1 of three-LP set. Six “sonic environments” using the Buchla Modular Electronic Music System and Moog Modular Synthesizer at UCLA. 20:09 01:44:55     Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

As both a composer and singer, Kristin Norderval is inspired by hybridity, interactivity and the idea that everything we do is site-specific. In her operas, chamber works, sound installations, and music for dance and theater, she blends acoustic and electronic sound, de-tuned instruments, voices, machines, and the acoustic resonance of space. Having trained in both composition and classical voice, Kristin first earned her living as a soprano soloist with a focus on contemporary music, particularly American composers. She performed and recorded works by, and often alongside, composers such as Philip Glass, John Cage, Pauline Oliveros, George Crumb and many others. Returning to composition after her 40th birthday, she continued to focus on the voice as her primary sonic material. Her solo CD of work for voice and electronics - Aural Histories - was listed by The New Yorker music critic Alex Ross as one of “Ten Notable Classical Music Recordings of 2012”. Her opera The Trials of Patricia Isasa (2016) won Quebec´s OPUS prize for best contemporary music and best production. Kristin holds a PhD in Artistic Research from the Oslo National Academy of Arts, Academy of Opera in Norway. www.kristinnorderval.com

A Year of Deep Listening was a 365-day online celebration of Pauline Oliveros' legacy, coinciding with what would have been her 90th birthday. The Center for Deep Listening, established at Rensselaer Polytechnic Institute in 2014, posted one text score per day, totaling 365 pieces, which will be published in book form on January 28, 2025, as A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. On the podcast, Joseph Bohigian is joined by Stephanie Loveless, a sound and media artist, Director of the Center for Deep Listening, and the editor of this new volume, to talk about the project. Music: Roles of a Machine by Hassan Estakhrian, performed by Extradition (Maxx Katz, flute; Annie Gilbert, trombone; Collin Oldham, cello); Shao Way Wu, bass; Sam Klapper, violin; Caspar Sonnet, dobro; Ben Cohen-Chen, soprano saxophone; Matt Hannafin, percussion), No Small Matter by Seth Cluett, performed by Extradition (Juniana Lanning, Catherine Lee, Annie Gilbert, Loren Chasse, Matt Hannafin, natural objects), Water, Wood, Stone, Breath by Grace Harper, performed by Extradition (Stephanie Lavon Trotter, book, words; Juniana Lanning, cups, water; Loren Chasse, basket, pebbles) A Year of Deep Listening Follow Stephanie Loveless on Instagram. Follow The Center for Deep Listening on Instagram and Facebook. stephanieloveless.ca deeplistening.rpi.edu Follow us on Instagram and Facebook. otherminds.org Contact us at otherminds@otherminds.org. The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

Pour raconter la vie et l'œuvre de l'accordéoniste et compositrice Pauline Oliveros, on consacre quelquefois comme à un rituel placer un moment clé en 1958, quand, à l'âge de 26 ans, Pauline Oliveros fait une expérience qui tient de l'épiphanie, ce moment où elle réalise que son magnétophone enregistre des sons qu'elle ne perçoit pas … Continuer la lecture de « Metaclassique #312 – Méditer »

Ananda Shankar - "Monkey's Tea Party" - Sá-Re-Gá Machán The Residents - "Theme for an American TV Show" - Commercial Album Francis Dhomont - "Engloutissement (excerpt)" - Sous le regard d'un soleil noir Sarr Band - "Mephisto" - Moog Madness 1970's Johnny Gunn - "Gunnsmog" - Introspection IV - Weirdos From The Uncommon World Of Johnny Gunn With The Outre Musical Sounds Of Don Ralke Lille Roger - "My Hands Ain't Dirty" - For Life Zoviet-France - "Surge" - Look Into Me Ragnar Grippe - "VIII" - Ten Temperaments P16. D4 - "Half Cut Cows (excerpt)" - Acrid Acme (of) P16.D4 Maria Teresa Luciani - "The Poor Neighborhood" - Sounds of the City Phillipe Manoury - "Neptune 1991" - En Écho - Neptune Ad Van Buuren - "Golf" - Wervels En Flarden Elisabeth Waldo - "Quechuan Love Song" - Rites of the Pagan Joel Chadabe - "Modalities" - CDCM Computer Music Series Vol. 7: Compositions By Neil B. Rolnick, Pauline Oliveros, Julie Kabat, Barton McLean & Joel Chadabe https://www.wfmu.org/playlists/shows/147768

A mix for Radio AlHara that features the latest collaborative album between Joseph Sannicandro and Stefan Christoff. This mix also includes some drones and live recordings from Palestine solidarity protests in Mexico City to round out the hour, an excerpt of a protest participant, recorded in Spanish. Information on the album via OKLA records in Poland: https://oklarecords.bandcamp.com/album/transmissions-in-silver The album will be released on Friday, Nov. 15, 2024, to get a physical or digital copy visit the link above. Broadcast in full on Radio AlHara on Sunday, Oct. 27 at 4pm eastern / 11pm Palestine time, streaming at radioalhara.net This is the write-up on the project: The next chapter in the ongoing artistic conversation between two friends, shaped and built upon live improvisations weaving instruments, radio captures, and punctuated by binaural field recordings of cityscape walks. Joseph's synth work enhances circular, frantic guitar lines laid by Stefan as footsteps ground the work in a natural rhythm of bodies resonating with stimuli of time and space. Two lives intersecting in a room - mourning the dead, raging against injustices, channelling homeland lullabies to synthesize healing waves to pass forward. “Take a walk at night, and walk so silently that the bottoms of your feet become ears.” – Pauline Oliveros

Junto a Pauline Oliveros y Ramón Sender funda en 1961el San Francisco Tape Music Center, primer estudio de la Costa Oeste dedicado a la música experimental. Cinco años más tarde, crea el primer disco electrónico jamás grabado, “Silver Apples of the Moon”._____Has escuchadoThe Other Piano. Lullaby: For Piano & Live Electronics (2007). Soojin Anjou, piano; Morton Subotnick, electrónica. Mode (2019)Silver Apples of the Moon. Part A (1967). WERGO (1994)The Wild Beasts. After the Butterfly (1978). Conjunto instrumental dirigido por Subotnick. WERGO (2015)_____Selección bibliográficaBERNSTEIN, David, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. University of California Press, 2008CLEMAN, Tom y Morton Subotnick, “Parallel Lines for Solo Piccolo with "Ghost Electronics" and Nine Players”. Notes, n.º 40 (1983), p. 404DAVISON, Stephen, “All My Hummingbirds Have Alibis, Multimedia CD-ROM for Macintosh by Morton Subotnick” [Reseña]. Notes, n.º 53 (1996), p. 530-533*GLUCK, Robert, “Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York”. Leonardo Music Journal, vol. 45, n.º 1 (2012), pp. 51-56*—, “Nurturing Young Composers: Morton Subotnick's Late-1960s Studio in New York City”. Computer Music Journal, vol. 36, n.º 1 (2012), pp. 65-80*HANSON, Jeffrey, Morton Subotnick's Ghost Scores: Interaction and Performance with Music Technology.  TFM, San Jose State University, 2010MACHOVER, Tod, “Interview with Morton Subotnick”. Contemporary Music Review, vol. 13, n.º 2 (1996), pp. 3-11*ROADS, Curtis, “Interview with Morton Subotnick”. Computer Music Journal, vol. 12, n.º 1 (1988), pp. 9-18*ROADS, Curtis y Morton Subotnick, “A Sky of Cloudless Sulfur/After the Butterfly”. Computer Music Journal, n.º 5 (1981), p. 81SUBOTNICK, Morton, “Extending the Stuff Music is Made of”. Music Educators Journal, n.º 55 (1968), pp. 109-110—, “The Use of the Buchla Synthesizer in Musical Composition”. Journal of The Audio Engineering Society (1970), s/n—, “The use of computer technology in an interactive or “Real time” performance environment”. Contemporary Music Review, n.º 18 (1999), pp. 113-117WHIPPLE, Harold W., “Beasts and Butterflies: Morton Subotnick's Ghost Scores”. The Musical Quarterly, vol. 69, n.º 3 (1983), pp. 425-441*YELTON, Geary, “A Conversation with Morton Subotnick: Celebrating the 50th Anniversary of Silver Apples of the Moon”. Electronic Musician, vol. 33, n.º 11 (2017), pp. 26-30 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

On this episode of Songs of Our Lives, it's Chuck Johnson! His new album, “Sun Glories,” has been out for a few months, but it's hitting harder as the temperatures finally drop here. We got into the record, the nature of collaboration, hope, and more before digging into his picks. Chuck kept me on my toes as we chatted about Donna Summer's greatness, Hamza el Din stopping you in your tracks, Beth Gibbons' incredible range, Pauline Oliveros deep cuts, David Bowie, SANAM, Queen, and more!Listen to all of Chuck's picks HEREChuck Johnson “Sun Glories”Chuck Johnson's websiteSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

Today is a special episode of the podcast, not just because of the 50th episode anniversary but because there will be no guests today. Instead, you'll be immersed in a unique sound walk experience, a journey of sound I recorded in July in Italy. This is not just a regular episode; it's a sonic adventure.  Open your mind and listening brain because, as we learned in the last episode with Professor Nina Kraus, you can only hear what you know.  But now let's get on our trip or, better yet, the sound walk of the summer. Every two years, my wife and I, visit the Art Biennale of Venice. It's not just a visit, it's a learning experience, an inspiration, a ritual about creativity in the broadest sense. It's about un-learning, re-learning, and encountering new things that make you rethink. And this time, I brought my recording device with me on a sound walk through the Biennale of Venice.  Be my guest while I was walking with my ears and microphone open on this unique sound walk. Show Notes David Rothenberg website and books: http://www.davidrothenberg.net/  Biennale Arte Venice website: https://www.labiennale.org/en/art/2024   Italian Pavillion, Duo Qui/Two here: https://www.duequi-tohear.it/project  More on Deep Listening and Pauline Oliveros: https://musicthinking.com/deep-listening-with-sharon-stewart/   Show Support Please choose one or more of the ‘three ways to support the show': Subscribe to the podcast. Leave us a review — even one sentence helps! I appreciate your support; it helps the show! Tell your friends about the podcast and musicthinking.com Buy the book The Power of Music Thinking and the Jam Cards at a 20% discount using musicthinking20 at the check-out of the BIS Publishers website only.​​

Is it necessary to bare your soul to make good music? Roberto Lange has swapped the beautiful introspection of his earlier songwriting as Helado Negro to draw inspiration from outside sources. In this episode of Doing Music, host Craig Schuftan speaks to Lange about the people, places, and processes which influence his work, from the North Carolina landscape he calls home to field recording, experimental sampling and imaginary meetings with Pauline Oliveros and Lupe Lopez.    Explore further: Pierre Schaefer - ‘Acousmatics'  Pauline Oliveros - ‘Some Sound Observations'  Freddy Mamani - Neo-Andean Architecture   Keep up with Helado Negro on Instagram, YouTube and via his website — and check out his latest album Phasor. Doing Music is brought to you by Ableton. Follow us on TikTok and Instagram. Tell us what you think of this episode: doingmusic@ableton.com

Bob Holmes from SUSS is joined by his bandmates Jonathan Gregg and Pat Irwin. They discuss their influences including Brian Eno, Bill Frisell, Pauline Oliveros, David Pajo, and more. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe

Send us a Text Message.It's hard to describe what this one's about. Just listen. Things they discuss: Lee cutting half a yew tree (that has grown a lot), Simon's 40th at Riverford Farm, being old and unimportant academics, the foundations of Bob and Lee's house, youse as plural pronoun, the inaccuracy of language, splitting infinitives and Star Trek, mooching versus smooching (a clunk and Freudian slip by Simon), practice research, a soporific version of Midlifing (mixed in with practice research), Edward S. Casey's bimble, send Midlifing a text message, learning a language by listing all the words you know in that language, Commando comics, mistranslations, the concept of soaking, sex before marriage in Mormon communities, re-watching The Wire (mos def, you feel me?), if your name's not down (or Dan) you're not coming in, Pauline Oliveros and deep listening, Lee on fire (not literally), a typically absurd episode, Simon not hearing what Lee says, Joe Biden's performance in the debate, Ruby and Finn going out counting votes.Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

Today's episode features an in-depth and fascinating interview with Armenian-American vocalist, songwriter and composer, KÁRYYN KÁRYYN talks to me about the making of her latest three- track, EP Calm KAOSS! Which was co-produced by James Ford, one of the UK's biggest record producers, previous guest on Synthetic Dreams and one-half of Simian Mobile Disco. KÁRYYN also speaks about her time at Mills College in Oakland, where she was exposed to experimental music through teacher-composers like Pauline Oliveros and Maggi Payne.  We also discuss sexism in the music industry and the challenges she has faced as a female musician. She discusses these experiences in a frank and open way, but with a good deal of humour.   Calm KAOSS! Which also features two fantastic remixes, is out now on the always excellent Mute records, a label we both love 

Jennie Gottschalk is a composer and author based in Boston. She holds a doctorate from Northwestern University and her dissertation and current work explores connections between American pragmatist thought and experimental music. Gottschalk is also the author of the book Experimental Music Since 1970, published in 2016. In the interview, we discuss the challenges of defining experimental music, the influence of indeterminacy, and recent developments in the field. Music: New Work by Pauline Oliveros, performed by The Circle Trio: Pauline Oliveros, accordion; India Cooke, violin; Karolyn van Putten, voice (Other Minds Festival 8); Triptych by Éliane Radigue, performed by Éliane Radigue (Other Minds Archives); Raga 18 by John Cage, performed by Amelia Cuni, dhrupad vocals; Werner Durand, drones/electronics; Raymond Kacynski and Federico Sanesi, percussion (Other Minds Records); Transparent City by Michael Pisaro, performed by Michael Pisaro (The Nature of Music) Follow Jennie on Twitter. jenniegottschalk.com Experimental Music Since 1970 Follow us on Facebook, Instagram, and Twitter. otherminds.org Contact us at otherminds@otherminds.org. The Other Minds Podcast is hosted and edited by Joseph Bohigian. Intro/outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

Helado Negro is the avant pop project of Roberto Carlos Lange, born in Florida to Ecuadorian parents but for many years based in Brooklyn. In recent years he's moved around a bit (Marfa, TX!) and is now based in Asheville NC, which is where he made his new dreamscapey bilingual avant-pop album called Phasor. While it definitely has the dreamy, warm sound of an Helado Negro album, it also feels different - the grooves are more prominent and there are new sonic textures we haven't heard before, perhaps due to inspiration from Pauline Oliveros' Deep Listening, Foley sound art, and many other sources – including what the sun feels like. Set list: 1. Echo Tricks Me 2. Out There 3. Best For You And Me

Having first captured our attention with Monolithic Nuance (2018) for Longform Editions, Megan Mitchell's Cruel Diagonals has continued to impress with each new work. With Fractured Whole, she set herself the task of producing an album using nothing but her voice as raw material. While she deserves recognition as a gifted vocalist, she deserves at least as much praise for her production work, alchemically transmuting her voice into a wide range of instruments and textures. In this episode, she discusses the production challenges posed by Fractured Whole, her background in musical theatre, her work with the feminist archive Many Many Women, and much more. Read more at www.acloserlisten.com TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Cruel Diagonals - “Penance” (Fractured Whole, Beacon Sound, 2023) INTRO Cruel Diagonals - “Monolithic Nuance” (Monolithic Nuance, Longform Editions, 2018) Mika Vainio - “Se On Olemassa (It Is Existing)” (In The Land Of The Blind One​-​Eyed Is King, Touch, 2003) Matthewdavid - “Phased Moon” (Mycelium Music, Leaving, 2023) Cruel Diagonals - “Monolithic Nuance” (Monolithic Nuance, Longform Editions, 2018) Cruel Diagonals - “Render Arcane” (Disambiguation, Drawing Room Records, 2018) Cruel Diagonals & Jon Carr - “Fall Back Into Earth” (Fall Back Into Earth, 2022) Asmus Tietchens - “Club of Rome” (The Emergency Cassette Vol. 2, Los Angeles Free Music Society, 1981) Faust - “Why don't you eat carrots?” (Faust, Polydor, 1971) Can - “One More Night” (Ege Bamyasi, Liberty, 1972) Demdike Stare - “Black Sun” (Voices of Dust, Modern Love, 2010) Andy Stott - “Luxury Problems” (Luxury Problems, Modern Love, 2012) Porter Ricks - “Biokinetics 2” (Biokinetics, Chain Reaction, 1996) Anne Gillis - “A6” (Monetachek, Rangehen, 1985) Techno Animal - “Bionic Beatbox (Tortoise version)” (Techno Animal Versus Reality, City Slang, 1998) Cruel Diagonals - “Intuit Sensate [edit]”  (Fractured Whole, Beacon Sound, 2023) Pauline Oliveros, Stuart Dempster, Panaiotis - “Lear” (Deep Listening, New Albion, 1989) Eliane Radigue - “L'​Î​le re​-​sonante (2000)” (L'​Î​le re​-​sonante, Shiiin, 2005) Annea Lockwood - “For Ruth” (T​ê​te​-​à​-​t​ê​te by Ruth Anderson & Annea Lockwood, Ergot, 2023) Petr Kotik – S.E.M. Ensemble – Many Many Women – Part 13 (That being uncovered) (Many Many Women, Labor, 1981) Cruel Diagonals - “Fluvial” (A Dormant Vigor, 2021) Laurie Spiegel - “Three Sonic Spaces II” (Unseen Worlds, Scarlett/Infinity, 1991) Lana Del Rabies - “Grace the Teacher (Cruel Diagonals remix)” (Becoming Everything: STREGA BEATA Remixed, 2024) Cruel Diagonals - “Live in Los Angeles - March 2023 pt.1” (Live in Los Angeles, March 2023, Beacon Sound, 2023) Cruel Diagonals - “Vestigial Mythology (remix)” (Live in Los Angeles, March 2023, Beacon Sound, 2023) Cruel Diagonals - “Vestigial Mythology” (Fractured Whole, Beacon Sound, 2023) Andy Stott - “Submission” (We Stay Together, Modern Love, 2011) Andy Stott - “Promises” (It Should Be Us, Modern Love, 2019) Luc Ferrari - “Music Promenade” (Music Promenade / Unheimlich Sch​ö​n, Recollection GRM, 2019) Cruel Diagonals - “Soporific Return” (Disambiguation, Drawing Room, 2018) Cruel Diagonals - “Decimated Whole” (Fractured Whole, Beacon Sound, 2023) Pauline Oliveros, Roscoe Mitchell, John Tilbury, Wadada Leo Smith - “Part III [Encore]” (Nessuno, I Dischi Di Angelica, 2016) Demdike Stare - “We have already died” (Elemental, Modern Love, 2012) Can - “Call Me” (Saw Delight, Mute/Spoon, 1977/1991) Silent Servant - “Violencia” (Violencia, Sandwell District, 2008) Realivox Ladies (2015) Bjork - “It's Not Up To You” (Vespertine, Polydor, 2001) Pauline Oliveros - “Sound Patterns” (Extended Voices, Odyssey, 1967) Maxwell - “This Woman's Work” (Now, 2001) Richard Maxwell - “Pastoral Symphony” (An Anthology of Noise & Electronic Music Volume 5, 2008) Cruel Diagonals - “Live in Los Angeles - March 2023 pt.2” -—- Sound Propositions produced by ⁠⁠Joseph Sannicandro⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

On today's episode, I talk to composer and artist Arnold Dreyblatt. Originally from New York City, Arnold is part of the second generation of New York minimal composers, having studied with Pauline Oliveros, La Monte Young, and Alvin Lucier. His first album Nodal Excitation was released in 1982, and since then, he's recorded almost a dozen more, including 1995's Animal Magnetism, which was released on Tzadik. Based in Berlin since 1984, Arnold was Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany for almost a decade and a half and is currently deputy director of the visual arts section at the German Academy of Art. His most recent album Resolve was released last August on Drag City, and it is fantastic! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here!  

Jess Gillam and conductor Robert Ames share some of the tunes they love, with music by Philip Glass, Hildur Guðnadóttir, Makaya McCraven, Pauline Oliveros and J.S. Bach.Playlist: Philip Glass – Aguas da Amazonia - Madeira River [Uakti] Abel Selaocoe – Voices of Bantu Hildur Guðnadóttir - For Petra [London Contemporary Orchestra, Robert Ames] Tchaikovsky – The Tempest, Op. 18; VI. Andante non tanto [BBC Scottish Symphony Orchestra, Alpesh Chauhan] Makaya McCraven – In These Times Camille Saint-Saens – Le lever de la lune Pauline Oliveros / Stuart Dempster / Panaiotis - Suiren J.S. Bach – Aria from Orchestral Suite No. 3, BWV 1068 "Air on a G String" (Arr. Leopold Stokowski) [BBC Philharmonic, Matthias Bamert]

Siempre me ha intrigado la ausencia de mujeres compositoras en la música en general y también, lógicamente, en la música electrónica en particular. Las artes en general parecen ser cosa de hombres, supongo que por arrastrar prejuicios culturales que relegaban a la mujer a papeles secundarios o simplemente porque las labores prominentes eran desempeñadas habitualmente por hombres. En nuestro canal de Telegram, Oriol mencionó que sería interesante hacer un episodio especial dedicado a las mujeres pioneras en la música electrónica y la verdad es que me la idea me apeteció mucho. Investigando un poco van saliendo nombres que se merecen un reconocimiento y que han jugado un papel destacado en el desarrollo de los precoces instrumentos electrónicos. Su música a menudo es más una amalgama de sonidos experimentales donde se juega con el tono, el timbre o la frecuencia, en lugar de crear una "música bonita", así que os advierto: haremos un ejercicio de arqueología musical, muy interesante para las mentes curiosas y abiertas a conocer en perspectiva aquellos inciertos origenes, para escuchar composiciones extrañas y de difícil comprensión entre otras más amigables. Hoy retrocederemos en el tiempo para rendir un homenaje a algunas de las mujeres pioneras en la música electrónica. Lisa Bella Donna, Johanna M. Beyer, Else Marie Pade, Delia Derbyshire, Pauline Oliveros, Wendy Carlos, Éliane Radigue, Pril Smiley, Suzanne Ciani, Daphne Oram, Constance Demby, Laurie Spiegel, Laurie Anderson, Pauline Anna Strom, Doris Norton, Elsa Stansfield. El playlist detallado con enlaces a las audiciones íntegras de cada álbum: lostfrontier.org/episodios/2023/1013.

durée : 00:59:46 - En pistes, contemporains ! du dimanche 19 novembre 2023 - par : Emilie Munera - Des musiques pour aéroports aux grandes étendues chorales, le voyage est au coeur de notre En Pistes Contemporains! Sans oublier quelques découvertes comme Yi Chen ou Pauline Oliveros. - réalisé par : Céline Parfenoff

Today, the Spotlight shines On Kerry O'Brien and William Robin, co-authors of the book On Minimalism: Documenting a Musical Movement from University of California Press.Philip Glass, Steve Reich, Terry Riley and LaMonte Young are stereotypically described as the “Big Four” of minimalism in music. While On Minimalism does nothing to undermine or belittle their pioneering and important contributions to the form, the authors widen the aperture to show a broader scope to the music, from its beginnings in the psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The book encompasses figures as diverse as Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, as well as many other well-and-little-known names and subgenres. There is also a much due focus on the contributions of women, people of color, and LGBTQ+ musicians. I loved this book and I think listeners to this podcast will as well.Enjoy Kerry O'Brian and William Robin, on minimalism.------------------Dig DeeperGrab a copy of On Minimalism from UC Press, Bookshop, Powell's, Amazon, or Barnes & NobleFollow Kerry O'Brien on Instagram, Facebook, or Twitter (X)Follow William Robin on Instagram or Twitter (X)On Minimalism: a Spotify Playlist ------------------I would like to give one of our listeners my copy of On Minimalism. If you would like it, go to spotlightonpodcast.com and once you're on the home page, go to the newsletter sign up form. To be considered, give us your first name and email address. Current newsletter subscribers will be entered automatically. Enter by Noon Pacific Time on November 8. We will select a recipient at random that afternoon and contact them for shipping details. ------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On Kerry O'Brien and William Robin, co-authors of the book On Minimalism: Documenting a Musical Movement from University of California Press.Philip Glass, Steve Reich, Terry Riley and LaMonte Young are stereotypically described as the “Big Four” of minimalism in music. While On Minimalism does nothing to undermine or belittle their pioneering and important contributions to the form, the authors widen the aperture to show a broader scope to the music, from its beginnings in the psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The book encompasses figures as diverse as Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, as well as many other well-and-little-known names and subgenres. There is also a much due focus on the contributions of women, people of color, and LGBTQ+ musicians. I loved this book and I think listeners to this podcast will as well.Enjoy Kerry O'Brian and William Robin, on minimalism.------------------Dig DeeperGrab a copy of On Minimalism from UC Press, Bookshop, Powell's, Amazon, or Barnes & NobleFollow Kerry O'Brien on Instagram, Facebook, or Twitter (X)Follow William Robin on Instagram or Twitter (X)On Minimalism: a Spotify Playlist ------------------I would like to give one of our listeners my copy of On Minimalism. If you would like it, go to spotlightonpodcast.com and once you're on the home page, go to the newsletter sign up form. To be considered, give us your first name and email address. Current newsletter subscribers will be entered automatically. Enter by Noon Pacific Time on November 8. We will select a recipient at random that afternoon and contact them for shipping details. ------------------• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. Hosted on Acast. See acast.com/privacy for more information.

For the third year in a row, we have celebrated Hallowe’en by devoting our weekly alt-accordion radio program to the theme of droning, with hypnotic long-form compositions in the vein of Pauline Oliveros’ “Deep Listening” compositions. Longer tracks demand a longer airtime, so here we are offering up three and a quarter hours (!) of […]

Architectural sound, understandings of freedom, and how do we end? The composer, improviser and performer discusses three important albums.Lucie's picks:Iannis Xenakis – La L​é​gende d'EerPauline Oliveros – The Tuning MeditationChristian Wolff – Changing The SystemLucie's recent solo album, Cave Acoustics, is out now via the labels mappa and Skupina. Lucie's website is here. Follow them on Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

On this episode of The Seltzer Salon I'm joined by Canadian composer, musician, and dramaturge, Christopher Willes. He recently spearheaded the Resonance Gathering project which has evolved over its lifespan, but began as a large-scale ensemble performance of Pauline Oliveros's To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (1970). It grew to become more than that, culminating in a double LP and book release that includes the performance (which happened in the Council Chambers at Toronto City Hall), a sound poetry piece from Oliveros's partner, IONE, and a book documenting the work. It's a stunning document of an incredible piece of work. Willes goes into detail about the origins of the idea, how it came to be, and all the various setbacks they had to overcome to make it a reality. A fascinating conversation about one of 2023's most memorable releases. Resonance Gathering https://christopherwilles.bandcamp.com/album/resonance-gathering The Seltzer Salon is a concise, conversational podcast hosted by Brad Rose and produced by Foxy Digitalis. Each episode features a musician, artist, writer, or anyone, really, focusing on a single project or idea. I know we all have limited time each day, so I wanted to do something a little smaller scale with just as much impact, so episodes will be 25-45 minutes in length. Brad Rose is the the principal writer and editor-in-chief of Foxy Digitalis, an online music magazine and has run various DIY record labels for the last 30 years. Support Foxy Digitalis on Patreon patreon.com/foxydigitalis Subscribe to our in-house label, The Jewel Garden https://thejewelgarden.bandcamp.com/subscribe foxydigitalis.zone Twitter: @foxydigitalis Instagram: @foxy.digitalis Bluesky: @foxydigitalis.bsky.social Mastodon: foxydigitalis@mastodonmusic.social

Rrose makes enigmatic music that hits a sweet spot between techno and avant-garde composition, blurring gender identity and making work that feels like you're listening to a living, tactile organism. New album, Please Touch is the latest stop over a long journey that began under a different pseudonym in the club scenes of 1990s California, involved at one point leaving the dancefloor behind for years to study composition at the prestigious Mills College (whose alumni and teachers have included Pauline Oliveros and Steve Reich) before rebirthing as Rrose. They talk with Paul about the sexual energy of dance music, the power of creating a persona and their creative story. Lost and Sound is proudly sponsored by Audio-TechnicaPaul's debut book, Coming To Berlin: Global Journeys Into An Electronic Music And Club Culture Capital is out now on Velocity Press. Click here to find out more. Subscribe to the Lost and Sound Substack for fresh updates and writing here.Lost and Sound title music by Thomas Giddins

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego (Billingsgate Media, 2023) is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artists of their time. The late 60s arrival of Harry Partch -- hobo composer, iconoclast and inventor of instruments such as the Harmonic Canon and Quadrangularis Reversum -- jump started a revolution that was as much social as it was musical, drawing on the occult, self-realization and radical political movements of 70s Southern California. Artists as diverse as Partch, Pauline Oliveros, Kenneth Gaburo, Roger Reynolds, Diamanda Galás, Warren Burt, David Dunn, Robert Turman and Master Wilburn Burchette may have pursued different paths -- Sonic Meditations, compositional linguistics, microtonal scales, invented instruments, cutting edge electronics, underwater synthesizers, Tibetan throat singing, environmental sound, pure noise -- but they also sought to dismantle the systems of American life and replace them with a radically inclusive and socially responsive aesthetic that looked to the future even when it sometimes referenced a distant, idyllically imagined past. In their pursuit of "Irrelevant Music" -- Kenneth Gaburo's term for an untainted music free of constraint and compromise -- these disparate artists constitute a shadow history of American experimental music far removed from the European and East Coast models of the time. Bill Perrine is the director of the documentaries Children of the Stars, It's Gonna Blow!!! San Diego's Music Underground, 1986-96, and Why Are We Doing This In Front of People? Bill's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Michelle Redo invites Katherin Vasilopoulos to guest host when Michelle reads her own essay--Brave No More. Check out Katherin's podcast And So, She Left.Curious about the Bugzooka? Pauline Oliveros died in 2016 but her Deep Listening Institute continues to resound.Listen to more of Phil Redo's music.Sign up for Michelle's monthly podcast newsletter Hit Pause, or send a note at michelleredo.com

On this episode, Marc talks with Bill Perrine, author of “Alien Territory: Radical, Experimental, & Irrelevant Music in 1970s San Diego,” published in May of 2023. It's a fascinating look at so much varied experimental music, much of it centered around the University of California at San Diego, whose archives Bill was able to comb through for unheard gems. Bill highlights familiar figures such as Harry Partch, Pauline Oliveros, and Diamanda Galas, but also lesser known characters like Jim French, Warren Burt, Arthur Frick, and tons more.In his introduction, Bill writes, “I take it as a given that the music is not, and should not be, the sole providence of academics, specialists, or art snobs. It is made by professors at universities as well as punks in trailer parks.”We hope you enjoy Marc's conversation with Bill!

Three Lobed Recording artist Eli Winter and I talk Chicago, Houston, improvising, Pauline Oliveros, and more! ELI: https://eliwinter.com/ BANDCAMP: https://threelobed.bandcamp.com/album/eli-winter + https://eliwinter.bandcamp.com/album/live-at-the-logan-center-3-16-2019 For more Better Yet visit our website betteryetpod.comI'm a web developer too! Check out my web application riffin, a guitar tab sketchpad: https://www.riffin.io/demo To get in touch with Tim Crisp (that's me) about ads, podcast production + editing inquiries, or to say hi, you can email tim@betteryetpod.com. I'd love to hear from you—REALLY!!

Episode 619: February 25, 2023 playlist: mu-Ziq, "Uncle Daddy" (Magic Pony Ride) 2022 Planet Mu Einstuerzende Neubauten, "Silence Is Sexy (alt)" (Strategies Against Architecture III) 2001 Mute Wil Bolton, "Of Ruins" (Like Floating Leaves) 2023 Laaps MC Yallah, "Sikwebela" (Yallah Beibe) 2023 Hakuna Kulala Super Deep, "Tralfamadore" (Super Deep) 2022 Aural Canyon Martyna Basta, "Slowly Forgetting, Barely Remembering" (Slowly Forgetting, Barely Remembering) 2023 Warm Winters Dommengang, "Society Blues" (Wished Eye) 2023 Thrill Jockey Anadol, "Ablamın Gözleri" (Felicita) 2022 Pingipung Teruyuki Kurihara, "Mirage" (Parallel) 2023 Force Inc/Mille Plateaux lusine icl, "feedme" (a pseudo steady state) 2023 Ant-Zen Pauline Oliveros, "A Love Song" (The Well and the Gentle) 1985 Hat Art / 2023 Important Joseph Allred, "A Long Winter (feat. Matt Johnson and Mikey Allred)" (What Strange Flowers in the Shade) 2023 Feeding Tube Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

David Rothenberg is a writer, philosopher, ecologist, and musician, speaking out for nature in all aspects of his diverse work. He investigates the musicality of animals and the role of nature in philosophy, with a particular interest in understanding other species by making music with them. As a professor of philosophy and music at the New Jersey Institute of Technology, he “teaches engineers nonquantifiable things.” He is also an acclaimed composer and jazz clarinetist known for his integration of world music with improvisation and electronics. Originally intending to be a scientist, music pulled Rothenberg away during his high school years – ultimately becoming the modality through which he would explore nature and deep ecology. Looking back at those high school years of the 1970s, Rothenberg told The New York Times, "I was influenced by saxophonist Paul Winter's Common Ground album, which had his own compositions with whale and bird sounds mixed in. That got me interested in using music to learn more about the natural world." As an undergraduate at Harvard, Rothenberg created his own major to combine music with communication. He traveled in Europe after graduation, playing jazz clarinet. Listening to the recorded song of a hermit thrush, he heard structure that reminded him of a Miles Davis solo. Because of Rothenberg's study of animal song and his experimental interactions with animal music, he is often called an "interspecies musician." He is said to "explore the sounds of all manner of living things as both an environmental philosopher and jazz musician." Rothenberg's book Why Birds Sing: A Journey into the Mystery of Bird Song (Basic Books 2005) was inspired by an impromptu duet in March 2000 with a laughingthrush at the National Aviary in Pittsburgh. A CD accompanying the book also featured Rothenberg's duet with an Australian lyrebird. The book served as the basis for a 2006 feature-length BBC documentary of the same name. His next book, Thousand Mile Song (Basic Books 2008), reflects similar curiosity about whale sounds considered as music, from which both scientific and artistic insights emerge. It was turned into a film for French television. Philip Hoare of The London Telegraph said of the book, "while Rothenberg's madcap mission to play jazz to the whales seems as crazy as Captain Ahab's demented hunt for the great White Whale, it is sometimes such obsessions that reveal inner truths...I find myself more than a little sympathetic to the author's faintly bonkers but undoubtedly stimulating intent: to push at the barriers between human history and natural history." His book Survival of the Beautiful: Art, Science and  Evolution (Bloomsbury Press 2011) was described by the journal Nature as exploring the theme that beauty is not random but is intrinsic to life—and that evolution proceeds by sumptuousness, not by utility alone.  His remarkable output in books is matched by his creative output in other areas. As a composer and jazz clarinetist, Rothenberg has sixteen CDs out under his own name over the past 30 years. His 2020 releases include In the Wake of Memories and They Say Humans Exist, named best jazz album of the year by Stereo+ Magazine in Norway. He has performed or recorded with Peter Gabriel, Pauline Oliveros, Ray Phiri and Suzanne Vega. As a musician, Rothenberg tries to blend the indigenous energy of the world's primal music with the exploratory spirit of improvisation. He has studied jazz clarinet professionally, as well as Tibetan ritual wind music in Nepal and folk music in Norway. Since 2014, Rothenberg has been an Ambassador of the international non-governmental humanitarian mission, the Dolphin Embassy, participating in non-invasive research of the possibilities of free dolphins and whales – playing music for them. In 2017, the Dolphin Embassy released the full-length documentary Intraterrestrial, which received awards from international film festivals. The film's soundtrack features music by Rothenberg. Links to his extensive work, global press coverage, and extended recognition can be found on his website. Please join us in conversation with this remarkable philosopher and interspecies musician who combines art and science to make nature come alive in remarkable ways!

Sanna Almajedi speaks to Maria Chávez on the occasion of Topography of Sound (2007–now) at e-flux. The conversation is followed by an excerpt from the performance, Maria's first public live show since a medically induced sabbatical.  Maria Chávez is an abstract turntablist, conceptual sound artist, and DJ based in New York and born in Lima, Peru. Coincidence, chance, and failures are themes that are at the heart of her practice, which expands from the world of sound to sculpture and other disciplines. Chávez is one of the only people, if not the only person, in the world that uses the double-headed RAKE turntable needles in her live performances. She uses broken needles that bounce and scratch in their attempt to play a groove. Sometimes she breaks the record itself and stacks broken shards of vinyl on the turntable. Through these experimentations, Chávez utilizes destruction as a method to discover new sonic worlds. Chávez's influences stem from improvised contemporary music; she is an avid practitioner of deep listening and was mentored by the composer Pauline Oliveros. Chávez describes her turntablism technique as taking the detritus of vinyl and repurposing it into sonic sculptures that can be compared to improvised musique concrète pieces. Her latest body of work, a series of white Carrara marble sculptures, handmade in her studio in Carrara, Italy, has revealed a parallel with her vinyl practice.  Chávez is on the cover of Thom Holmes's book Electronic and Experimental Music: Technology, Music, and Culture (Routledge, 2020). She was a David Tudor and Robert Rauschenberg arts fellow and research fellow for Goldsmith's Sound Practice Research Department. Her large-scale sound and multi-media installations along with other works have been shown at the Getty Museum, the Judd Foundation, Documenta 14, and HeK (Haus der Elektronischen Künste Basel) among others. She is also part of Don't Blame it on Zen: The Way of John Cage & Friends, currently on view at MoCA Jacksonville. Chávez is the author of Of Technique: Chance Procedures on Turntable (2012), which is the first book about abstract turntablism. This book has developed a reputation as both an academic resource and a foundational text for a new generation of turntablists. She has contributed to many other publications including e-flux Architecture with “Too Much Reality”—a text about neuroplasticity and its place in the arts. In 2023, Chávez will be an artist-in-residence at the Counterflows Festival in Glasgow, Scotland and at the Rewire Festival in the Hague, the Netherlands. 

In episode #11 IONE is in conversation with Sounds of SAND Producer Michael Reiley McDermott IONE is a noted author, playwright/director and poet whose works include the critically acclaimed memoir, Pride of Family Four Generations of American Women of Color, Listening in Dreams and This is a Dream!. Other works include; The Night Train to Aswan and Nile Night: Remembered Texts from the Deep and Spell Breaking; Remembered Ways of Being, and Anthology of Women's Mysteries. Links IONE - ionedreams.us The Center for Deep Listening Arnold Mindell – Dreaming While Awake: 24 Hours Lucid Dreaming & Quantum Healing Listening to the Ancestors: Black Feminists & Aboloitions Speak Black Quantum Futurism Pauline Oliveros at 90 Conert at Carnegie Hall (NYC) Deep Listening: The Story of Pauline Oliveros Quantum Listening by Pauline Oliveros, IONE, and Laurie Anderson Music from the Episode Nile Night – IONE / Pauline Oliveros Deep Listening Band: Section I: Invocation By IONE from Dunrobin Sonic Gems Nubian Word for Flowers A Phantom Opera by IONE and Pauline Oliveros OHAM Remembers Pauline Oliveros ft. Exclusive Interview Footage 360 Video: Pauline Oliveros's 'Tuning Meditation' at The Met Cloisters

For season six's FINALE, we'll board the finest time traveling locomotive this side of the train soundboard once again to explore experimental music throughout history! We'll be going all the way from Pauline Oliveros to Bjӧrk, remembering all the things we've talked about this season, like improvisation, drum machines, and more! Learn about musical experiments, meet up with an old friend, and get your ticket to hop aboard at musicboxpod.org. Recommended for grades 3-8, but all students can join in on the time traveling fun!]]>

Sanna Almajedi talks to Jad and Tarek Atoui about their experimental music duo, Through Rust and Dusk. The conversation is followed by an excerpt of their performance at e-flux on September 26, 2022 that incorporated improvisation, custom made instruments, field recordings, and electronic sounds.  Read more about Tarek Atoui‘s The Whisperers (October 1–December 10, 2022) at Flag Art Foundation here.   Jad Atoui is a Beirut-based sound artist and improviser. He composes and performs electronicand electro-acoustic music and has worked with musicians like John Zorn, Pauline Oliveros, Laurie Anderson, Chuck Bettis, and Anthony Sahyoun. During his formative years in New York, Atoui found interest in the New York avant-garde scene. He began working closely with NYC downtown musicians and learning improvised music techniques, while also working at the Stone and the Guggenheim Museum. In 2015, Atoui spearheaded the “Biosonics” project in collaboration with scientist Ivan Marazzi where they used bio-sonification of behaviors as compositional tools. The project was later published in John Zorn's Arcana Book Vol. XVIII and premiered at National Sawdust as part of The Stone's commissioning series. Atoui has given and co-directed workshops at Marfa Sounding, Ashkal Alwan, and Beirut Synth Center, and has been a resident at The Stone, The National Sawdust, Beirut Art Center, Arab Image Foundation, and Sharjah Art Foundation. Tarek Atoui is an artist and composer born in Beirut. His work stems from performance and looks into how sound can be perceived with sensory organs other than the ear, how sound acts as a catalyst for human interaction, and how it relates to social, historical, and spatial parameters. The point of departure for his works is usually extensive anthropological, ethnological, musicological, or technical research, which results in the realization of instruments, listening rooms, performances, or workshops. Atoui has presented his work internationally at the Sharjah Biennial in the United Arab Emirates (2009 and 2013); dOCUMENTA 13 in Kassel, Germany (2012); the 8th Berlin Biennial (2014); Tate Modern, London (2016); CCA NTU, Singapore (2017); Garage Moscow (2018); the 58th International Art Exhibition of la Biennale di Venezia (2019); the Okayama Art Summit 2019; the Sharjah Art Foundation (2020); The Fridericianum (2020); And Pinault Collection (2021).  He was appointed co-artistic director of STEIM studios in 2007, and of the Bergen Assembly, a triennial for contemporary art in Norway in 2016. He is the recipient of the Suzanne Deal Booth / FLAG Art Foundation Prize 2020. Tarek Atoui currently lives and works in Paris, France. e-flux music is curated by Sanna Almajedi. 

We've been captivated by the striking music featured on Cheri Knight's American Rituals lately—one of our favorite songs from it opens this episode, the mantric “Prime Numbers.” Recorded in the late ‘70s and early ‘80s at Evergreen State College in Olympia, Washington, Knight's experimental compositions recall the minimalism of John Cage or Meredith Monk, but are shot through with a post-punk streak, all delivered with meditative, repetitive vocal abstractions that evoke her interest in Buddhism and meditation.   Hailing from Western Massachusetts, where she grew up a “farm girl,” which she remains to this day, Knight's travels eventually took her away from Olympia. She joined up with an alt-country band, Blood Oranges, and after that embarked on a solo career. Cheri is a rare person who connects equally to Pauline Oliveros and Steve Earle, who we discuss in this episode.  Thank you for listening to Transmissions. If you dig the show, please consider leaving a five star rating or a review. We appreciate you helping us connect with new listeners however you do so. You can listen to and subscribe to Transmissions via Apple Podcasts, Spotify, Audible, and of course, the trusty RSS feed. We're a part of the Talkhouse Podcast Network. Next week on the show: Glenn Mercer of New Jersey indie rock legends The Feelies.

The composer Pauline Oliveros thought there was a difference between hearing and listening.  She defined hearing as a passive act, something done with the ears.  But she defined listening as something active saying that listening happens in the brain.  Sam Parker is a recordist who takes inspiration from Oliveros' words and work.  About six years ago, on an episode of Here Be Monsters called Sam's Japan Tapes, Sam shared dozens of recordings he made during his first (and only) trip to Japan.  He released those recordings under the name Observance as an album called Japan, 6/21 - 7/14.On this episode, Here Be Monsters host takes two trips to Germany, and records the sounds of Christmas in Berlin, New Years in Saxony, and many hours of people and birds just going about their daily lives in the late winter and early spring. Before Jeff leaves on his first trip, he calls Sam Parker back, to ask for recording advice before the trip, and Sam offers three tips: Take lots of time.Capture moments of everyday routine. Trust your instinctsThe recordings on this episode are available as an album called “Field Recordings: Germany, 2021-2022” and it's available for purchase on Bandcamp, under Jeff Emtman's The Black Spot moniker.  Until June 30th, 2022, all profits from the sale of this album will be donated to The International Committee of the Red Cross. Producer: Jeff EmtmanMusic: Remixes from the recording session in HBM049: Sam's Japan Tapes.Photos: Jeff EmtmanThank Yous: Sam Parker, Johanna Gilje Sponsor: HBM's Patreon SupportersHere Be Monsters' supporters on Patreon send a small monthly (or yearly) donation to help cover Jeff's living expenses, pay contractors, fees, taxes, etc.Listener Kit Roberts supports HBM on patreon, saying “I'm a patron of HBM because no other podcast has ever made me feel like this one does…so small and singular and yet connected to everything all at once.”Thank you so much, HBM Patrons.👽👉Become a patron👈👽Recordings heard in this episodeMM:SS - Description.  (📸 means there's a photo in the gallery)08:45 - Train to SeaTac airport.09:45 - Announcements on an Air France flight.11:00 - Turbulance and people rustling.12:30 - Berlin's Brandenburg Airport13:15 - A brown swan hissing and chirping13:30 - Boats rubbing against wooden piers and a small dog barking.14:15 - Cars driving on cobblestone streets.14:45 - Ice Skating at Berlin's Alexanderplatz 📸15:30 - Swing ride with metal chains at Alexanderplatz. 📸16:00 - Riding on the subway, then walking up several flights of stairs.18:45 - Radio playing advertisements, news, and christmas music20:45 -  A Christmas Eve service in a cathedral with a speaker reading a children's story.21:30 - Christmas carols playing as people mill around.22:00 - A wedding party in front of the Brandenburg Gate.23:15 - A Christmas exhibit with a lit up polar bear and fog machine.24:00 - Birds chirping in Berlin's Mauerpark as people walk by.25:00 - Crunching frosted leaves on a cold morning.25:30 - Walking through a forest in the Saxony Region of Eastern Germany.📸26:15 - Whistling through hands in the forest.27:00 - Buying 5 kilograms of potatoes from a vending machine as a dog barks.📸27:30 - Mountaintop shop selling hot drinks and snacks in Czechia.27:45 - Chopping kindling. Distant fireworks echoing through the hills in Saxony.28:30 - Snaps and pops of a small fire29:00 - Distant fireworks to celebrate the start of 2022.29:30 - Close fireworks echoing.30:00 - A strong wind blowing on a mountaintop in Saxony.📸30:30 - A tree swing creaking.31:15 - 6AM on the outskirts of Berlin.  Traffic starting, crow screaming.32:45 - Captive pigeons fluffing their feathers and cooing at Hasenheide Park34:00 - Slow motion recording of a sudden hailstorm.34:30 - A motorized billboard in a subway station35:00 - Accordion player performs in a subway station in Berlin's Mitte neighborhood.37:45 - Applause after a play.38:15 - A small bird singing several songs.39:30 - Church bells ringing.40:45 - Wind flapping the torn domes of the Teufelsberg listening station as people sing.📸43:00 - Walking through the forest near Teufelsberg as bikes pass.