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Deep Listening: A Composer's Sound Practice offers an exciting guide to ways of listening and sounding. This book provides unique insights and perspectives for artists, students, teachers, meditators and anyone interested in how consciousness may be effected by profound attention to the sonic environment .

Deep Listening® is a practice created by composer Pauline Oliveros in order to enhance her own as well as other's listening skills. She teaches this practice worldwide in workshops, retreats and in her ground breaking Deep Listening classes at Rensselaer Polytechnic Institute and Mills College. Deep Listening practice is accessible to anyone with an interest in listening. Undergraduates with no musical training benefit from the practices and successfully engage in creative sound projects. Many report life changing effects from participating in the Deep Listening classes and retreats.

Oliveros is recognized as a pioneer in electronic music and a leader in contemporary music as composer, performer, educator and author. Her works are performed internationally and her improvisational performances are documented extensively on recordings, in the literature and on the worldwide web. ... Read more

Customer Reviews (4)

A New Age text
Boy, is this not what I expected. Having heard some of Oliveros's music as well as that of other artists available at the Deep Listening web site, I had not realized how much of her approach to the practice of Deep Listening involved straight-up New Age notions. This book offers descriptions of Tai Chi or Yoga (or whatever) practice--eg, the Swimming Dolphin ("...Repeat the same motion opening the next chakra, then the third chakra...then the eyes, the third eye, and then extend the arms upward with palms open gathering energy from the universe."), or the Dragon Tail ("The floating palm is sensing and gathering energy as it passes each energy center"). There is emphasis on posture for meditation ("Imagine a golden thread shooting out of the crown of your head to a distant star"), practices like The Heart Chant ("Can you imagine that the heart energies are joining together for healing yourself and others?"), and so on. Though there are passages about mindful attention to music and the soundscape, they are, for me, overwhelmed by the material on yoga, meditation, and New Age practices. No criticism is intended--it may be for you or not, but I felt that a more explicit description was needed here of what sort of book this is.

A Source Book
This is focused material for a focused readership interested in the underpinnings and exercises in Oliveros' Deep Listening approach to meditation and music. This slim volume collects the apparently small amount of written material that Deep Listening has produced with respect to actually preparing oneself or a group for deeper and broader awareness of and involvement in the soundscape, and applying these listening techniques to music and all aspects of life. In specific, there are some brief philosophical essays by Oliveros, listening exercises and composition challenges, and reports by workshop attenders and Deep Listening practitioners. I read the book in preparation for attending a performance by the Deep Listening Band, and while I was sympathetic to the aims and goals, I was disappointed that decades of professional work had been summarized in such a cursory and haphazard way. The performance, by the way, by Pauline Oliveros (accordion, electronics), Stuart Dempster (trombone, electronics), and David Gamper (keyboards, electronics), was transcendent and left me in an altered state.

A meditation on listening
Deep listening by Pauline Oliveros, is by far the most unusual book I have read concerning the art of listening.It is less a work on composition or methods of sound making, and more a holistic search for inner tranquility in order to hear the noise all around you.Although coming from the sound artist perspectice and probably less interested in reading a detailed work on sound practice, or a manual for producing art sound.I was a little disappointed at the lack of narrative in the book, it presents methods of meditation rather than methods of recording the sound around you.The most interesting article in the book, was the documenting of recording an outdoor experience by TJ Szewczak, this was fascinating and insightful, his description of recording the length of a river and the various changes in the sound space as he followed the course of its length is perhaps a result of being aware of the practice of deep listening.Perhaps her book highlights the possibilities of what one could learn if they attended the seminars or retreats on Deep Listening.Otherwise I think you have to be of a certain mindset to read a book on ways of meditation, which I feel this book is.

Essentials of Oliveros' Excellent Teachings
Pauline Oliveros has devoted more time and effort to understanding how listening effects the life form than anyone else I have encountered. From the moment I met her some forty-plus years ago and we became both friends and colleagues, Pauline shared with me her profound interest in how environmental sounds affected both her musical performance, her composition, and her sense of self. This 'listening beyond hearing' led her to expand her understanding of how focused sound perception can function as a gateway into the moment, into the Now. Inasmuch as all sound occurs only in the present moment, it can function as a natural path to the meditative experience, taking us from focused listening (concentration and one-pointedness) to the wider, relaxed state of Deep Listening, as she has named it.

This book contains the summation of the author's Deep Listening experience in her research, composition, performance, workshops, retreats and classes. It includes as well some fascinating essays and quotes from her students. All in all, this compilation will serve as a valuable guide not only to musicians and composers, but also to anyone interested in a coming to a deeper understanding of themselves and their interaction with their sonic environment. ... Read more

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Sounding the Margins: Collected Writings 1992-2009 by composer, performer, humanitarian, and Deep Listening™ founder Pauline Oliveros document her activity over this period and the many recent advances that have taken place in the fields of electronic and telematic musical performance, improvisation, artificial intelligence, and the role of women in contemporary music. Featuring contributions by John Luther Adams, Monique Buzzarté, and Stuart Dempster. ... Read more

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

Sounding Out combines key elements of feminist theories of lesbian sexuality with Oliveros’s major compositions, performances, critical essays, and interviews. It also includes previously unpublished correspondence between Oliveros and Edith Guttierez, Jill Johnston, Annea Lockwood, Kate Millett, and Jane Rule.

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collected writings 1985-95 by new music pioneer ... Read more

Customer Reviews (1)

listening for your voice
The title "Roots of the Moment" aptly characterizes the content of this book.Improvisation requires performing in the moment.Finding the root of each moment is part of a spiritual/philosophical quest of whichsound is essential. Readers familiar with "emotionalintelligence" will quickly realize the value of Oliveros' "DeepListening" program as a powerful vehicle for tapping into the creativepotential of emotional memory. "Roots" consists of: music"scores" or directions for improvisation by anyone (includingnon-musicians and children), graphic scores, poems, letters, and lectureson Deep Listening (e.g., sound and sounding, listening and hearing, powerand healing), technology, women's rights, anatomy and physiology oflistening, social commentary, among others. Not only is the contentinformative, but the format in which it is presented further illustratesOliveros' idea of improvisation.Multiple writings are presentedsimultaneously on each page, with some continuing for 10 pages and othersweaving into each other with different typefaces serving as keys for eachwriting---or is the linear presentation of ideas essential to the directexperience of reading descriptions of experience?The visual layoutencourages improvisation by the reader, merging and moving among thedifferent texts. "Roots of the Moment" illustrates Oliveros'unique sensitivity to listening and her commitment to facilitating thehealing power of sound in others.Performing, creating, and teachingaround the world, Pauline Oliveros is one musician, healer, educator,philosopher, and social commentator who walks her talk.Roots of theMoment is one book that will continually aid you, as an individual and incommunity, in listening and sounding creativity and healing. The onlysuggestion I have for the reprint is to provide the beginning and endingpage for each writing, thereby helping readers unfamiliar with the mosaicformat of the text. ... Read more

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A vivid dream of passage narrated by experimentalcomposer Pauline Oliveros and realized through the exploratoryphotographs of Becky Cohen. The book carries us deeply and graphicallyinto the world of ritual and meditation that is integral to Oliveros'life and art. ... Read more

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BOMB 107, Spring 2009, featuring: Interviews with Jacqueline Humphries by Cecily Brown, Roxy Paine by Tod Williams and Billie Tsien, Mary Gaitskill by Matthew Sharpe, Matthew Buckingham by Josiah McElheny, Eric Kraft by Andrei Codrescu, Adam Bartos by A.M. Homes, The Yes Men by Steve Lambert, and Pauline Oliveros by Cory Arcangel. Essays by Kara Walker on Mickalene Thomas, Sanford Biggers on Rashid Johnson, and Marcella Durand on Joyce Pensato. Fiction & Poetry by Ana Menendez, Rusty Morrison, Sally Anne Clegg, J.R. Thelin, Ben Ehrenreich, Laura Mullen, and Micheal Martone. Artwork by Bill Jacobson and Charles Mary Kubricht. ... Read more

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Chapters: Avant-Garde Accordionists, Classical Accordionists, Jazz Accordionists, Pauline Oliveros, Orlando Digirolamo, Mogens Ellegaard, Richard Galliano, James Crabb, Luciano Biondini, Dimitri Bouclier, Gus Viseur, Mat Mathews, Joe Mooney, Wolfgang Dimetrik, Guy Klucevsek, Gianni Coscia, Johnny Meijer. Source: Wikipedia. Pages: 48. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Pauline Oliveros (born May 30, 1932, Houston, Texas) is an American accordionist and composer who is a central figure in the development of post-war electronic art music. She was a founding member of the San Francisco Tape Music Center in the 1960s, and served as its director. She has taught music at Mills College, the University of California, San Diego (UCSD), and Rensselaer Polytechnic Institute. Oliveros has written books, formulated new music theories and investigated new ways to focus attention on music including her concepts of "Deep Listening" and "sonic awareness". Oliveros earned degrees from Moores School of Music at the University of Houston and San Francisco State University where her teachers included composer Robert Erickson. At the University of Houston, she was a member of the band program and was a founding member of the local chapter of Tau Beta Sigma Honorary Band Sorority. Oliveros is one of the original members of the San Francisco Tape Music Center, which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings. In 1967, Oliveros left Mills to take a faculty music department position at UCSD. Th...More: http://booksllc.net/?id=293283 ... Read more

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High Quality Content by WIKIPEDIA articles! Pauline Oliveros (born May 30, 1932, Houston, Texas) is an American accordionist and composer who is a central figure in the development of post-war electronic art music. She was a founding member of the San Francisco Tape Music Center in the 1960s, and served as its director. She has taught music at Mills College, the University of California, San Diego (UCSD), and Rensselaer Polytechnic Institute. Oliveros has written books, formulated new music theories and investigated new ways to focus attention on music including her concepts of "Deep Listening" and "sonic awareness". ... Read more

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Chapters: Pauline Oliveros, Mogens Ellegaard, Guy Klucevsek. Source: Wikipedia. Pages: 20. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Pauline Oliveros (born May 30, 1932, Houston, Texas) is an American accordionist and composer who is a central figure in the development of post-war electronic art music. She was a founding member of the San Francisco Tape Music Center in the 1960s, and served as its director. She has taught music at Mills College, the University of California, San Diego (UCSD), and Rensselaer Polytechnic Institute. Oliveros has written books, formulated new music theories and investigated new ways to focus attention on music including her concepts of "Deep Listening" and "sonic awareness". Oliveros earned degrees from Moores School of Music at the University of Houston and San Francisco State University where her teachers included composer Robert Erickson. At the University of Houston, she was a member of the band program and was a founding member of the local chapter of Tau Beta Sigma Honorary Band Sorority. Oliveros is one of the original members of the San Francisco Tape Music Center, which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings. In 1967, Oliveros left Mills to take a faculty music department position at UCSD. There, Oliveros met theoretical physicist and karate master Lester Ingber with whom she collaborated in defining the attentional process as applied to music listening. Oliveros also studied karate under Ingber, achieving black belt level. In 1973,...More: http://booksllc.net/?id=293283 ... Read more

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Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Louis Andriessen, Fabio Vacchi, Pauline Oliveros, Unsuk Chin, Richard Barrett, Claus-Steffen Mahnkopf, Per Nørgård, Costin Miereanu, Michel Van Der Aa, Robert Saxton, Régis Campo, Vinko Globokar, Richard Ayres, Huck Hodge, Tona Scherchen, Daniel Lentz, Peter Schat, Ib Nørholm, Şerban Nichifor, Misha Mengelberg, Michael Oesterle, Geoff Hannan, Hans-Joachim Hespos, Michael Jarrell, Jan Vriend, Lefteris Papadimitriou, Lars Johan Werle. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Louis Andriessen (born 6 June 1939) is a Dutch composer and pianist based in Amsterdam. He teaches composition at the Royal Conservatory of The Hague. He was recipient of the Gaudeamus International Composers Award in 1959. Andriessen was born in Utrecht into a musical family, the son of the composer Hendrik Andriessen (1892-1981), brother of composers Jurriaan Andriessen (1925-1996) and Caecilia Andriessen (1931-), and nephew of Willem Andriessen (1887-1964). Andriessen originally studied with his father and Kees van Baaren at the Royal Conservatory of The Hague, before embarking upon two years of study with Italian composer Luciano Berio in Milan and Berlin. He later joined the faculty of the Royal Conservatory where his notable students included Steve Martland, Richard Ayres, Richard Baker, Jeff Hamburg, Ivana Ki, Koji Nakano, Damien Ricketson, Patrick Saint-Denis, Juan Sebastian Lach, Michel van der Aa, Víctor Varela, and Jasna Velikovi. In 1969 Andriessen co-founded STEIM in Amsterdam. He also helped found the instrumental groups Orkest de Volharding and Hoketus, both of which performed compositions of the same names. He later became closely involved in the ongoing Schonberg and Asko ensembles and inspired the formation of the British ensemble Icebreaker. Andriessen, a widower, was ...More: http://booksllc.net/?id=18214 ... Read more

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SEGMENT 1: Journalist Mark Prendergast plays examples of "ambient music" for Jim Fleming and talks with him about what musical innovators like Brian Eno and the Grateful Dead were trying to do. Prendergast is the author of "The Ambient Century."SEGMENT 2: Composer and musician Pauline Oliveros tells Anne Strainchamps about the process of "deep listening." She says the world is full of music most people never hear. Also, Joseph Lanza is the author of "Elevator Music: A Surreal History of Muzak, Easy Listening and Other Moodsong." He tells Jim Fleming that a retired general invented muzak as a way of bringing music to a wider public than the moneyed elite. Of course, he also hoped to turn a profit, too!SEGMENT 3: World class cellist Lynn Harrell tells Anne Strainchamps that he still feels the spirit of Jacqueline Dupre in his cello when he plays the Elgar concerto. She created a sensation when she played the piece on that instrument before her illness. Harrell also explains how his playing has improved since the hand surgery that might have ended his career. And we hear lots of music. Also, Russell Martin, author of "Beethoven's Hair," tells Steve Paulson how a lock of hair clipped from the great composer while he was lying in state survived to the present day, and what scientists were able to learn when they performed some high tech analysis. Forget syphilis, and think lead poisoning. ... Read more

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VHS video, 60 minutes. ... Read more

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A thought-provoking issue in EAR's later glossy magazine format, exploring the controversial morality-based criteria for arts funding, vintage 1991 (and it's gotten worse since then!). FEATURES: Music & Money #1 [panel: Robert Ashley, Tania Leon, Pauline Oliveros], M&M #2 [panel: John Duffy, James Jordan, David Laskin]. COLUMNS: David LL Laskin, Nan Rubin, Peter Wetzler's interview with Laurie Spiegel, Howard Mandel; Correspondence between Jesse Helms and Nancy Hanks. ... Read more

Customer Reviews (1)

Amazing Book!
This is about the best book on music and technology I've ever read! An Amazing Wonderful book! ... Read more

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Choral Octavo, 7.7 x 11.2 ins 8pp wrappers. An avant-garde work employing vocal sounds other than conventional singing. ... Read more