Podcast appearances and mentions of Pauline Oliveros

Deep Listening is a practice developed by Pauline Oliveros, explores the difference between the involuntary nature of hearing and the conscious nature of listening. RPI hosts the Center for Deep Listening to explore and maintain this idea. The director of the center is Stephanie Loveless who has edited a book, out now from Terra Nova Press, featuring a year worth of scores in the spirit of deep listening. moses Nagel talked to her about the book and the concept.

In this episode of Coming Back to Ourselves, Ken is joined by his longtime friend and creative partner, Brian Pertl—a musician, ethnomusicologist, didgeridooist, and practitioner of deep listening.Together, they explore the practice of deep listening, a concept developed by composer Pauline Oliveros, and what it means to truly pay attention to the world around us ... and within us.Through stories, laughter, and reflection, Brian shares how deep listening can:awaken creativity and playbuild connection and belonginghelp us regulate, reset, and remember our five-year-old selvesThis episode also includes a guided deep listening exercise with a full minute of intentional silence.Timestamps00:00 — Introduction to Brian Pertl (didgeridoo, deep listener, and longtime collaborator)00:30 — Why this season calls us to “come back to ourselves”03:27 — What is deep listening? The story behind the practice05:35 — Listening beyond what we normally notice07:46 — Deep listening as culture-building and leadership practice11:22 — A simple deep listening exercise using words and sound13:18 — From vulnerability to shared meaning: what emerges in groups15:27 — “Feeling comfortable being uncomfortable”18:08 — Sound, space, and play22:20 — Why there are no wrong notes (and no wrong ways to participate)23:43 — Practicing deep listening in nature26:05 — What do you hear when you pause?28:00 — Listening as presence—and as an embodied practice31:05 — Guided deep listening exercise (find a quiet place)32:50 — One minute of intentional silence33:55 — Returning from the exercise: what did you notice?35:19 — Final reflections and remembering your five-year-old selfThe ALP is supported by Human Capital Education. Music arranged by Ryan Anselment

Episode 783: March 30, 2026 playlist: Miki Berenyi Trio, "Island of One" (Island of One) 2026 Bella Union Dead Can Dance, "Our Day Will Come" (Our Day Will Come) 2026 [self-released] Tujiko Noriko, "Bosom" (PON) 2026 Editions Mego The SPKtR, "The Last of Men" (The Last of Men) 2026 [self-released] Kristin Hersh, "Sundial" (Sundial) 2026 Fire Ak'chamel, The Givers of Illness, "Dreams of a Dead Dreamer" (Spiritually Unemployed) 2026 Akuphone Lee "Scratch" Perry and Mouse on Mars, "Rockcurry" (Spatial, No Problem.) 2026 Domino Annea Lockwood, "World Rhythms (excerpt 1)" (World Rhythms) 2026 Room40 Terrence Dixon, "The Art Of Possible" (When Stars Remember) 2026 Tresor dagmar zuniga, "A Car With No Lights on" (in filth your mystery is kingdom / far smile peasant in yellow music) 2026 AD 93 Jonas Braasch, Pauline Oliveros, Doug Van Nort, "Improvisation #2" (Triple Point) 2026 Important Magic Tuber Stringband, "Where the Place Becomes Forgetting" (Heavy Water) 2026 Thrill Jockey 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.

Episode 785: March 30, 2026 playlist: Huggy Bear, "Her Jazz" (Basic Strategies for Going Out: Peel Sessions) 2026 JABS Pauline Oliveros, Issui Minegishi, Miya Masaoka, "Day One V" (Two Days In Dreamland) 2026 Important Le Simandou De Beyla, "Festival" (Music For A Revolution Vol 2 : Guinea's Syliphone Recording Label (1968-1980)) 2026 Radio Martiko Espen Reinertsen, "Til noens dype muskelvev" (Venus er i haret) 2026 SusannaSonata Will Gardner, "The Hadal Zone" (The Hadal Zone) 2026 Phantom Limb Fugazi, "Facet Squared (Albini Session)" (Albini Sessions (Benefit for Letters Charity)) 2026 Dischord Margareth Kammerer, "Ombre" (The Garden) 2025 Ftarri Uta Juli Deak, "Tamed" (Brisk) 2026 Thanatosis David Newlyn, "A New Day" (Skeletons) 2026 Sound In Silence Tegh and Adel Poursamadi, "Toward The Vast Mountain" (Bayal) 2026 Injazero June of 44, "Mooch (live at Club Fever in Tokyo - March 9th, 2023)" (Live In Tokyo) 2026 [self-released] Marc Almond and The Gaslight Troubadours, "Mother Fist (Gaslight Troubadours Remix)" (Salambo) 2026 [self-released] 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.

Recorded on the waxing crescent in Pisces and released on the vernal equinox, this first episode of Elemental Explorations arrives at a threshold as the light just begins its return.In this conversation, Gina Wisotzky (Incandescent Tarot) and Bethany Carder (My Resonant Frequencies) weave together tarot, astronomical astrology, and somatic practice to explore what it means to live as a water body: porous, rhythmic, and in relationship with the earth. This episode isn't a traditional podcast, it's an expansive practice and attunement to take in at your own pace. Expect breath, movement, humming, laughter, and a live tarot reading.What we explore together:We open with the lunar moment itself — waxing crescent, just past new moon, the slow build before illumination. Bethany brings her six-year practice of attuning to planetary transits through sound and improvisation, arriving through health challenges and the discovery that lunar tracking was a way back into the body. Gina shares her own path to the moon: growing up in the countryside under a full-moon snowstorm, sending Lunar Dispatch voice memos with a long-distance partner, and now wanting something more formally somatic in her spiritual practice.From there, the conversation moves through the full arc of the Moon card in tarot: shadow, siren call, the High Priestess as creature of margins, the intoxication of going too deep, and the necessity of bringing what you find back into the light. We talk about the Moon's relationship to nervous system regulation, the 10 of Wands as a personal nemesis, the Nine of Swords as an honest mirror, and what it means to birth yourself through the moon.Along the way, Bethany leads a grounding breath and embodiment practice, a full-body movement sequence mapped to the lunar cycle, and closes the episode with Pauline Oliveros-inspired deep listening - a water meditation followed by a slow, guided return. We close with an affirmation from Bethany's teacher Krishna Kaur: I am the center of my world.For exercises, tarot spreads, audio extras and more, visit the project website elementalexplorations.comCards pulled: Seven of Pentacles · Seven of Wands · The World · Five of Wands · Knight of CupsPractices included: Belly breathing (4 in, 6 out) · Sounding for nervous system regulation · Lunar cycle movement sequence · Deep listening with water field recordings · Affirmation call and responseResources: Freesound — for sharing and exploring water field recordings from your own place Cities and Memory — a global project of shared listeningAbout the Project:Elemental Explorations is a collaborative audio and attunement series rooted in the seasons. With each equinox and solstice, we follow one element — through conversation, sound, movement, tarot, and somatic practice — as an invitation to come back into relationship with the living world and with yourself.The Elemental Explorations Ecosystem: www.elementalexplorations.commyresonantfrequencies.substack.comincandescenttarot.com incandescenttarot.beehiiv.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit incandescenttarot.substack.com

Today we're putting The Tonearm's needle on Zeena Parkins, composer, improviser, and one of the most singular forces in experimental music.Zeena has spent four decades dismantling what the harp can do: through electronics, object preparations, and a series of custom electric instruments she built herself, she's turned a concert hall fixture into something alive and unpredictable.Her collaborators range from Björk to John Zorn to Pauline Oliveros. Last year, she released two records paying tribute to her years teaching at Mills College before its closure: Modesty of the Magic Thing and Lament of the Maker. And she's performing this spring at Big Ears Festival in Knoxville. She's also a Guggenheim Fellow and a three-time Bessie Award winner for her work composing for dance.We cover all of it: her instruments, her process, and what it means to make music at the edge of what's possible.(The musical excerpts heard in the interview are from Zeena Parkins' album Lament of the Maker)—Dig DeeperArtist and RecordingsVisit Zeena Parkins at zeenaparkins.com and follow her on Instagram and BandcampPurchase Lament for the Maker (Relative Pitch Records, 2025) from Bandcamp or Qobuz, and listen on your streaming platform of choicePurchase Modesty of the Magic Thing (Tzadik, 2025) from Qobuz or Squidco, and listen on your streaming platform of choiceCollaborators MentionedWilliam Winant — percussionist and longtime collaborator; Parkins discusses finding Lou Harrison instruments in his studio and performing Modesty of the Magic Thing with himFred Frith — guitarist and composer; Parkins replaced him at Mills and performed with him in Skeleton CrewLaetitia Sonami — sound artist and Mills colleague; composed "She is a Butcher in My Dreams" for Lament for the MakerJames Fei — composer and Mills colleague; composed "In Such Circumstances of Miscalculations" for Lament for the MakerJennifer Monson — choreographer; one of Parkins's most significant long-term dance collaboratorsChris Cutler — drummer; encountered Parkins in Europe and brought her into News from BabelNayland Blake — artist who curated the San Francisco gallery show where Parkins gave her first solo concertEnsembles and ProjectsSkeleton Crew — experimental rock trio with Fred Frith and Tom CoraNews from Babel — group with Chris Cutler, Lindsay Cooper, and Dagmar Krause; Parkins discusses joining after meeting Cutler in EuropeTable of the Elements — American experimental music label; released Parkins's first solo recordRoulette Intermedium — Brooklyn venue where Parkins and Winant perform Modesty of the Magic Thing just before Big EarsArtists and Figures DiscussedJay DeFeo — Bay Area visual artist whose work, particularly The Rose and the Seven Pillars of Voice series, inspired Modesty of the Magic ThingThe Rose at the Whitney Museum — DeFeo's monumental painting, now in the Whitney's permanent collectionLou Harrison — American composer whose handmade instruments, bequeathed to William Winant, are central to Modesty of the Magic ThingDaphne Oram — British electronic music pioneer who worked at the BBC; Parkins mentions her as inspiration for an upcoming electric harp recordFestivalsBig Ears Festival — Knoxville, Tennessee; March 26–29, 2026; Parkins performs Modesty of the Magic Thing with William WinantOther Minds Festival — San Francisco; site of the West Coast premiere of Modesty of the Magic Thing—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on Zeena Parkins, composer, improviser, and one of the most singular forces in experimental music.Zeena has spent four decades dismantling what the harp can do: through electronics, object preparations, and a series of custom electric instruments she built herself, she's turned a concert hall fixture into something alive and unpredictable.Her collaborators range from Björk to John Zorn to Pauline Oliveros. Last year, she released two records paying tribute to her years teaching at Mills College before its closure: Modesty of the Magic Thing and Lament of the Maker. And she's performing this spring at Big Ears Festival in Knoxville. She's also a Guggenheim Fellow and a three-time Bessie Award winner for her work composing for dance.We cover all of it: her instruments, her process, and what it means to make music at the edge of what's possible.(The musical excerpts heard in the interview are from Zeena Parkins' album Lament of the Maker)—Dig DeeperArtist and RecordingsVisit Zeena Parkins at zeenaparkins.com and follow her on Instagram and BandcampPurchase Lament for the Maker (Relative Pitch Records, 2025) from Bandcamp or Qobuz, and listen on your streaming platform of choicePurchase Modesty of the Magic Thing (Tzadik, 2025) from Qobuz or Squidco, and listen on your streaming platform of choiceCollaborators MentionedWilliam Winant — percussionist and longtime collaborator; Parkins discusses finding Lou Harrison instruments in his studio and performing Modesty of the Magic Thing with himFred Frith — guitarist and composer; Parkins replaced him at Mills and performed with him in Skeleton CrewLaetitia Sonami — sound artist and Mills colleague; composed "She is a Butcher in My Dreams" for Lament for the MakerJames Fei — composer and Mills colleague; composed "In Such Circumstances of Miscalculations" for Lament for the MakerJennifer Monson — choreographer; one of Parkins's most significant long-term dance collaboratorsChris Cutler — drummer; encountered Parkins in Europe and brought her into News from BabelNayland Blake — artist who curated the San Francisco gallery show where Parkins gave her first solo concertEnsembles and ProjectsSkeleton Crew — experimental rock trio with Fred Frith and Tom CoraNews from Babel — group with Chris Cutler, Lindsay Cooper, and Dagmar Krause; Parkins discusses joining after meeting Cutler in EuropeTable of the Elements — American experimental music label; released Parkins's first solo recordRoulette Intermedium — Brooklyn venue where Parkins and Winant perform Modesty of the Magic Thing just before Big EarsArtists and Figures DiscussedJay DeFeo — Bay Area visual artist whose work, particularly The Rose and the Seven Pillars of Voice series, inspired Modesty of the Magic ThingThe Rose at the Whitney Museum — DeFeo's monumental painting, now in the Whitney's permanent collectionLou Harrison — American composer whose handmade instruments, bequeathed to William Winant, are central to Modesty of the Magic ThingDaphne Oram — British electronic music pioneer who worked at the BBC; Parkins mentions her as inspiration for an upcoming electric harp recordFestivalsBig Ears Festival — Knoxville, Tennessee; March 26–29, 2026; Parkins performs Modesty of the Magic Thing with William WinantOther Minds Festival — San Francisco; site of the West Coast premiere of Modesty of the Magic Thing—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

In 2020 kwam de Amerikaanse documentaire Sisters with Transistors uit: we volgen een aantal vrouwen dat pionierde in de elektronische muziek en we zien en horen wat dat betekende voor de componisten na hen. Ter ere van internationale vrouwendag duiken we vanavond in de muziek van deze bijzondere componisten: van de Bach op de eerste Moog synthesizers door Wendy Carlos tot de meditatieve muziek van Pauline Oliveros.  Gedraaid in de uitzending: Meredith Monk - Dark/Light 1 Ig Henneman - Fervid Laurie Spiegel - The Unquestioned Answer Wendy Carlos - Air on a G string  Delia Derbyshire - Moogies Bloogies Delia Derbyshire - Dr. Who Eliane Radigue - Jetsun Mila Pauline Oliveros - Love Song Pauline Oliveros - Deep Hockets Meredith Monk - Dark/Light 2 Kate Moore - The body is an Ear 

El 8 de marzo se celebra el Día Internacional de la Mujer (o 8M), una jornada reconocida por la ONU para conmemorar la lucha histórica de las mujeres por la igualdad de derechos, la justicia, la paz y la eliminación de la discriminación de género en todos los ámbitos.En esta casa del sonido hoy vamos a recordar algunas mujeres inspiradoras, sus proyectos, sus pensamientos, sus creaciones en torno a la ciudad. Partiremos de las ideas de Jane Jacobs activista que reivindicó una ciudad a escala humana (plasmadas en su libro Muerte y vida de las grandes ciudades), y escucharemos obras de Susana Jiménez Carmona, Pauline Oliveros, Susan Philips, Maryanne Amacher, Anna Bofill y Beatriz Ferreyra.Más información en: lacasadelsonido@rtve.esEscuchar audio

Today, we're putting The Tonearm's needle on Stephen Vitiello.Stephen is an electronic musician and media artist. His sound installations are in the permanent collections of MoMA, the Whitney, and the Museum of Contemporary Art in Lyon. He's worked with Pauline Oliveros, Ryuichi Sakamoto, and Joan Jonas. By day, he teaches Kinetic Imaging at Virginia Commonwealth University.Stephen's latest project is Trinity, a collaborative album with Lawrence English, who you heard on last week's show. Each of Trinity's five tracks brings in a different third musician: Brendan Canty from Fugazi, Chris Abrahams from The Necks, Marina Rosenfeld, Aki Onda, and the late Steve Roden. The album came out last November.Stephen shares how this project came together, what it's like to work with each of these artists, and how he's built a career turning everyday sounds into sonic experiences.(The musical excerpts heard in the interview are from Lawrence English & Stephen Vitiello's album Trinity)–Dig DeeperArtist and AlbumVisit Stephen Vitiello at stephenvitiello.com and follow him on Soundcloud, Instagram, and BandcampPurchase Lawrence English & Stephen Vitiello's Trinity from American Dreams, Bandcamp, or Qobuz and listen on your streaming platform of choicePrevious collaborations: Acute Inbetweens (2011) and Fable (2014) with Lawrence EnglishStephen Vitiello & Brendan Canty: Second (with Hahn Rowe)Trinity CollaboratorsLawrence English and Room40 RecordsBrendan Canty - drummer (Fugazi, The Messthetics)Chris Abrahams - pianist (The Necks)Marina Rosenfeld - turntablist and composerAki Onda - electronic musician and sound artistSteve Roden - late sound artist and visual artistWorld Trade Center ProjectWorld Trade Center Artist Residency - Lower Manhattan Cultural CouncilWorld Trade Center Recordings: Winds After Hurricane Floyd (1999)Bright and Dusty Things - album featuring WTC recordingsStephen Vitiello: Listening With Intent - documentary by ABC-TV AustraliaEducational InstitutionVCU Kinetic Imaging - Virginia Commonwealth UniversityKinetic Imaging Graduate Program at VCUInfluences and Collaborators MentionedNam June Paik - video art pioneerPauline Oliveros - composer and accordionistRyuichi Sakamoto - composer and musicianFred Frith - guitarist and composerIkue Mori - drummer and electronic musician (DNA)Maryanne Amacher - sound artist and composerR. Murray Schafer - composer and writer on acoustic ecologyRobin Rimbaud (Scanner) - electronic musicianColin Newman - Wire guitarist and vocalistTaylor Deupree - 12k Records founderKey Venues and InstitutionsThe Kitchen - New York performance spaceElectronic Arts Intermix - video art distributorAnthology Film Archives - New York cinemaMASS MoCA - Massachusetts Museum of Contemporary ArtThe High Line - New York elevated parkWhitney Museum of American Art - 2002 BiennialMuseum of Modern Art - Soundings exhibition (2013)Punk and No Wave ReferencesFugazi - influential post-hardcore bandDNA - no wave bandThe ClashNo Wave movement - late 1970s NYCMusic Theory and PracticeFluxus movement - experimental art movementJohn Cage and prepared pianoAmbisonic audio - spatial sound formatDolby Atmos - immersive audio formatArticles and InterviewsSteve Roden and Stephen Vitiello conversation in Bomb magazineThe Collaborative Recent History of Stephen Vitiello - Fluid Radio interview-Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Stephen Vitiello.Stephen is an electronic musician and media artist. His sound installations are in the permanent collections of MoMA, the Whitney, and the Museum of Contemporary Art in Lyon. He's worked with Pauline Oliveros, Ryuichi Sakamoto, and Joan Jonas. By day, he teaches Kinetic Imaging at Virginia Commonwealth University.Stephen's latest project is Trinity, a collaborative album with Lawrence English, who you heard on last week's show. Each of Trinity's five tracks brings in a different third musician: Brendan Canty from Fugazi, Chris Abrahams from The Necks, Marina Rosenfeld, Aki Onda, and the late Steve Roden. The album came out last November.Stephen shares how this project came together, what it's like to work with each of these artists, and how he's built a career turning everyday sounds into sonic experiences.(The musical excerpts heard in the interview are from Lawrence English & Stephen Vitiello's album Trinity)–Dig DeeperArtist and AlbumVisit Stephen Vitiello at stephenvitiello.com and follow him on Soundcloud, Instagram, and BandcampPurchase Lawrence English & Stephen Vitiello's Trinity from American Dreams, Bandcamp, or Qobuz and listen on your streaming platform of choicePrevious collaborations: Acute Inbetweens (2011) and Fable (2014) with Lawrence EnglishStephen Vitiello & Brendan Canty: Second (with Hahn Rowe)Trinity CollaboratorsLawrence English and Room40 RecordsBrendan Canty - drummer (Fugazi, The Messthetics)Chris Abrahams - pianist (The Necks)Marina Rosenfeld - turntablist and composerAki Onda - electronic musician and sound artistSteve Roden - late sound artist and visual artistWorld Trade Center ProjectWorld Trade Center Artist Residency - Lower Manhattan Cultural CouncilWorld Trade Center Recordings: Winds After Hurricane Floyd (1999)Bright and Dusty Things - album featuring WTC recordingsStephen Vitiello: Listening With Intent - documentary by ABC-TV AustraliaEducational InstitutionVCU Kinetic Imaging - Virginia Commonwealth UniversityKinetic Imaging Graduate Program at VCUInfluences and Collaborators MentionedNam June Paik - video art pioneerPauline Oliveros - composer and accordionistRyuichi Sakamoto - composer and musicianFred Frith - guitarist and composerIkue Mori - drummer and electronic musician (DNA)Maryanne Amacher - sound artist and composerR. Murray Schafer - composer and writer on acoustic ecologyRobin Rimbaud (Scanner) - electronic musicianColin Newman - Wire guitarist and vocalistTaylor Deupree - 12k Records founderKey Venues and InstitutionsThe Kitchen - New York performance spaceElectronic Arts Intermix - video art distributorAnthology Film Archives - New York cinemaMASS MoCA - Massachusetts Museum of Contemporary ArtThe High Line - New York elevated parkWhitney Museum of American Art - 2002 BiennialMuseum of Modern Art - Soundings exhibition (2013)Punk and No Wave ReferencesFugazi - influential post-hardcore bandDNA - no wave bandThe ClashNo Wave movement - late 1970s NYCMusic Theory and PracticeFluxus movement - experimental art movementJohn Cage and prepared pianoAmbisonic audio - spatial sound formatDolby Atmos - immersive audio formatArticles and InterviewsSteve Roden and Stephen Vitiello conversation in Bomb magazineThe Collaborative Recent History of Stephen Vitiello - Fluid Radio interview-Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Rencontre avec Pauline L. Boulba, Aminata Labor et Rosanna Puyol Boralevi à l'occasion de la publication du livre de JILL JOHNSTON, Tartine-moi et autres textes, éditions Brook.Sont ici réunis des textes de l'écrivaine-critique d'art-performeuse-zbeuleuse féministe-lesbienne Jill Johnston parus pour la plupart dans The Village Voice entre 1962 et 1993. On y croise des danseureuses, des hordes de gouines et de pédales, Meredith Monk, les Radicalesbians, Pauline Oliveros, des lits de rivières asséchées, Yvonne Rainer, Lois Lane, le Gay Liberation Front ou encore Agnes Martin.Figure centrale des avant-gardes artistiques des années 1960 à New York, Jill embrasse son lesbianisme après les révoltes de Stonewall de 1969. Si son écriture de critique se laisse contaminer par les œuvres qu'elle observe pour dévier vers des formes expérimentales, son écriture d'écrivaine-lesbienne vibre, tremble, rit, tournoie, saute, détonne. Elle prolonge les gestes chorégraphiques qui l'ont marquée et les entraîne dans des espaces politiques et collectifs. Ça fait splash, la langue de Jill éclabousse les rives de l'art et du militantisme.Traduits par Pauline L. Boulba, Aminata Labor, Nina Kennel et Rosanna Puyol Boralevi, les textes sont introduits par Pauline L. Boulba, accompagnés par les dessins d'Aminata Labor ainsi que par un article et un entretien avec Clare Croft.Saison #6 : Univers graphique : Mirion Malle | Habillage sonore : Pierre-Antoine Naline, accompagné de la chorale Dònas d'Òlt d'après le chant La Rota composé par Nadèta Carita | À la conversation et à la réalisation : Soazic Courbet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The sonic world and career of composer Pauline Oliveros (1936-2016) featuring a 2008 interview with the artist conducted by David Weinstein for the radio station of the Clocktower Gallery in support of an exhibition at PS1 Contemporary Art Center (now MoMA PS1) entitled WACK: Art of the Feminist Revolution. We also hear solos and collaborative works recorded for the Roulette concert series dating from 1984 to 2014 including excerpts with the Deep Listening Band (Stuart Dempster, trombone, didjeridu and David Gamper (piano, "toys"), and a trio with David Arner(piano) and Doug Van Nort (custom electronics). The influence of Dr. Oliveros on contemporary music is unrivaled, from electronic innovations, sonic meditations, ceremonial works, the Deep Listening paradigm, her Expanded Instrument System (processing time and space), hot-wired accordion, and merging a social conscience with sound.https://roulette.org/

The sonic world and career of composer Pauline Oliveros (1936-2016) featuring a 2008 interview with the artist conducted by David Weinstein for the radio station of the Clocktower Gallery in support of an exhibition at PS1 Contemporary Art Center (now MoMA PS1) entitled WACK: Art of the Feminist Revolution. We also hear solos and collaborative works recorded for the Roulette concert series dating from 1984 to 2014 including excerpts with the Deep Listening Band (Stuart Dempster, trombone, didjeridu and David Gamper (piano, "toys"), and a trio with David Arner (piano) and Doug Van Nort (custom electronics). The influence of Dr. Oliveros on contemporary music is unrivaled, from electronic innovations, sonic meditations, ceremonial works, the Deep Listening paradigm, her Expanded Instrument System (processing time and space), hot-wired accordion, and merging a social conscience with sound.

“To record well, you have to be listening well.” This episode, part two from Endless Fields 2025, features a further selection of interviews between Earth.fm curator Melissa Pons and her fellow artists-in-residence. You can listen to part one here. One of the co-founders of the event, Stefano Arrigoni, spoke to Melissa alongside Cameron Randall. Stefano is a sound artist and anaesthetist from Italy, who lives in Marseille, France. His practice explores how sound can shape consciousness and open spaces between the inner and the outer. For Stefano, field recording is a form of healing, attention, and surrender. In his compositions and improvisations, recorded sounds trace paths that question authorship and reveal what lies beyond the first layer of hearing. Cameron, a multidisciplinary artist, field recordist, and DJ, composes through an assemblage of field recordings, electro-acoustic sound, sampling, synthesis, AI models, and digital processing. Previous work has involved sculpture, algorithms, sound, moving image, text, and installation, while his monthly series Listening With is broadcasted on Resonance FM. Together, Melissa, Stefano, and Cameron discuss: The origins of their interest in sound. Cameron's arts background means he approaches the sonic world through a visual lens, while, despite being brought up in a family where music wasn't a priority, one of Stefano's earliest memories is of playing guitar with his father. He also describes himself having been a “sound-contemplator” from an early age How important it is, for those who wish to make music but don't have a musical background, to realize that if you “step back and [...] just listen quietly and [...] wait patiently”, inspiration will come. And to remember that an “unmusical mind” can even be beneficial, by “pull[ing] [...] work into a [...] different space” Whether engaging with sound requires more effort than the visual world does - or whether this engagement is “just different”, and simply requires a different kind of attunement The way that Stefano “find[s] sounds that call [to him]”, while Cameron “morph[s] and combin[es] sounds” to create a “quality that's partly in this world and partly in another” How negotiating one particular, secluded environment with a microphone, over an extended period, can increase the experience of intimacy with that environment, enhancing the listening experience  Whether listening in such an environment provides opportunities for imagining a better world, and to consider how creative practices can create outcomes that oppose the values of mainstream society How being “acutely” present in a natural environment can allow an appreciation of the “entanglement of species”, and of the “interwovenness” of the bodies of land and water which make up these spaces The way that time seems to “collapse” into a “continual flow” in such spaces - compared to the more structured interaction with time that most of us experience in day-to-day life The importance of remembering that “ecstasy [can] come [...] from very simple feelings like the warm breeze on your skin when you walk at night” How “liv[ing] in a crazy global situation [...], [means that] it's a very mixed feeling to be able to [...] just connect to [...] [things like the sound of a] grasshopper” - but that being in a natural space can also bring “a lot of those conversations to the fore”; taking the time to listen allows more mental clarity than the constant state of agitation within which many of us live. “By listening, we are moving peace energy. [...] It's [...] [a] political act” - so, “make your listening sacred”.  Melissa also spoke to Anna Clock, who co-founded Endless Fields with Stefano. Anna's work as an artist, composer, and musician centers ways of listening, and encompasses theater, film, radio, installation, text, and live music. They also find the time to play the cello and offer affordable, gender-neutral hairdressing in the queer community. In their conversation, Anna talks about: How moving from London, England, to Ireland at young age and entering “a completely different aural environment” led them to start making recordings - something that initially felt distinct from their background in music, before they came to the realization that they were part of the same practice The importance of reciprocity when listening, including the way that music can allow one to connect with both oneself and the world The connection between field recording and deep listening - but also the reluctance, as someone with a cynical nature, to sound too New Age by talking about spirituality in a flippant way The idea that, “If you can't listen to yourself, then you can't listen to anyone [...] or anything else.” Plus, the importance of finding the “special zone” which enables you to “feel comfortable enough to give and receive”... But also the acknowledgement that, if you're never uncomfortable, you're never “reaching towards anything new” How being present in order to listen can be a disconcerting experience, since “it's not what we're trained to reward ourselves for” in a world built around capitalistic productivity The beauty of “listening [rather than] fighting with time”: a valuable act in a world where “every action you take is a vote for a way of life” The experience of listening as part of a group of people - including how recordings made on a night walk while taking part in one of Pauline Oliveros' sonic meditations (where the intention is to tread so softly that the feet become ears) captured not only the surroundings but the sound of people listening. You can contact Stefano here, and follow Cameron and Anna. And check back for upcoming episodes! These will feature conversations with Jakub Orzęcki, an acoustic ecologist and field recording artist who lives in Wrocław, Poland, and the Berlin-based sound recordist and electronic music composer Gina Lo.

Karen Power is an Irish composer who uses environmental sounds in her intriguing work. She is a master field recordist who has recorded sounds in some of the worlds most isolated and challenging locations including The Arctic, Amazon, and Namib Desert. You'll hear clips of her work including The Bats of Namibia, Frogs of Angor Wat, fascinating bog sounds and arctic ice sounds in collaborations with the Quiet Music Ensemble and many brilliant collaboraters on her project human nature. She's also shared with us a raw field recording from a double cicada brood emergence. Karen and I also talked about her projects working to explore listeneing, composing and improvising with young children and inclusive music making with people living with disabiliities. You can also watch this on my YouTube channel; I've also linked the transcript. Episode linkIt's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Ko-fi support pagePodcast merchNewsletter Karen Power website human nature albumwe return to groundOther episodes: Lawrence English Ceara ConwayJesse Stewart Philip Griffin Verna Gillis Ellen Waterman(00:00) Intro (02:22) field recording (11:44) recording bats, human nature album with clip of Bats of Namibia (16:30) different kinds of scores to communicate with the musicians (21:32) we return to ground album with the Quiet Music Ensemble (23:47) clip of Instruments of Ice (25:37) Sonic Pollinators with clip (27:27) we return to ground with clip (33:51) other linked episodes you'll like (34:42) collaboration with Loré Lixenburg Language Land Sea (41:51) Thomas Buckner, Frogs of Angkor Wat with clip (43:30)Pauline Oliveros, Sirens of New York with clip (47:55) Natural Creators Program for young children (53:45) inclusive ensembles for adults living with disabilities (58:50) Blackbirds, Jessical Cottis (01:01:31) women composers problems with equity (01:06:50) cicadas

Dive into a conversation between Bioneers senior producer J.P. Harpignies and David Rothenberg. David is a musician, composer, author, naturalist, philosopher, and an independent publisher. He's been a unique and fascinating explorer of humanity's connections to the natural world for more than four decades. ⁠Watch the video version of this conversation⁠ One of David's unique forms of experimentation in his extensive travels has been not only his recordings of bird and whale and other animal songs, but his attempts to engage with other species in musical exchanges. Quite a few have been captured on film and discussed in his many books. David has released some 40 albums under his own name and collaborated with many prominent musicians. Someone recently said that David has “played with everyone from Peter Gabriel to Pauline Oliveros, Suzanne Vega, Scanner, cicadas, humpbacks, frogs, Estonian pond organisms” and many others.  JP invited David to recount some of the key episodes in his career trajectory, unpack some of his guiding ideals and passions, and regale us with anecdotes from an extremely full life. To learn more about the extraordinary intelligence of life inherent in fungi, plants and animals, check out Bioneers' Earthlings newsletter. Each issue delves into captivating stories and research that promise to reshape your perception of our fellow Earthlings – and point toward a profound shift in how we all inhabit this planet together. You can subscribe at bioneers.org/earthlings

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.

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).

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

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]

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

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

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.

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.