Resultado de búsqueda
Pauline Oliveros. Academy: Montréal 2016. Composer, author and educator Pauline Oliveros has dedicated her life to sound and to listening. One of electronic music’s most important early figures, she was an original member of the pioneering San Francisco Tape Music Center and its first director. A founder of the Deep Listening Institute, she ...
Pauline Oliveros, Chapter 22 in The Oxford Handbook of Computer Music and Digital Sound Culture, Edited by Roger T. Dean, austraLYSIS, Sydney, and MARC'S Auditory Laboratories, University of Western Sydney, Australia. 11/2008 Deep Listening:A Composer’s Sound Practice, iUNIVERSE, 2005
The composer, performer and philanthropist Pauline Oliveros is an important pioneer of electronic music. Her album »Deep Listening« (1988) is titled a milestone in spatial sound art. For four decades Pauline Oliveros (1932–2016) has been researching tones and sounds receiving international recognition, thus opening up new paths for herself and others.
21 de ene. de 2023 · In her first performance of the 2022–2023 season, Debs Creative Chair Claire Chase makes full use of the uniquely intimate, 360-degree Center Stage configuration of Zankel Hall. It’s the ideal setting for a program that pays tribute to Pauline Oliveros, the visionary composer and performer whose philosophy of Deep Listening® has inspired many of Chase’s sonic explorations.
Pauline Oliveros (born May 30, 1932, Houston, Texas, USA - died November 25, 2016) was an American composer, performer and author. In the early 1960's, Oliveros, along with Morton Subotnick and Ramon Sender, formed the San Francisco Tape Music Center, and there, she began her pioneering work with electronics and tape.In performances, Pauline Oliveros used an accordion which had been re-tuned ...
Sound Patterns, for chorus (1961)The Brandeis University Chamber ChorusAlvin LucierIn Pauline Oliveros' jet-propelled Sound Patterns, the conductor deals wit...
4 de ene. de 2022 · 11 As Piekut (Citation 2011) and Dohoney (Citation 2014) have explored, Cage actively disliked performers of his work who seemed to revel in ‘nonlinear’ realizations of his scores, such as Charlotte Moorman and Julius Eastman.Like these two performers, Oliveros also approached Cage’s work from a historically- and socially-situated subject position that was very different from Cage’s.
