Tag: Pauline Oliveros

CD Review, Chamber Music, Contemporary Classical, Experimental Music, File Under?, New York, Recordings, Review

Ghost Ensemble: We Who Walk Again (LP Review)

We Who Walk Again Ghost Ensemble Indexical LP/Download Since 2012, New York’s Ghost Ensemble has pursued a deep listening ethos that incorporates a range of repertoire, both pieces by ensemble members and works by composers such as David Bird, Kyle Gann, Giacinto Scelsi, and Gerard Grisey. Any ensemble in the US that references “deep listening” invariably is also interested in Deep Listening, the piece that evolved into a discipline and subsequent body of musical and theoretical work from sound artist Pauline Oliveros. Since its inception Ghost Ensemble has been associated with Oliveros’ work, both her compositions and sound practices. It

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by Christian Carey
Composers, Contemporary Classical, Deaths, Electro-Acoustic, Experimental Music, File Under?

Jeffrey Mumford Remembers Pauline Oliveros

Composer Jeffrey Mumford remembers the recently departed Pauline Oliveros in the following obituary. I had the honor of being a TA for Pauline Oliveros during my graduate studies at the University of California, San Diego from 1979-81. Our worlds couldn’t have been more different. I was deeply discovering the endless inventiveness and poetry in the music of Elliott Carter, with whom I would soon study, and was also working with Bernard Rands as my major teacher at UCSD. A composer of color, I came from Washington, D.C. steeped in the music of among others, Count Basie, which resonated throughout our house in

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by Christian Carey
Concert review, Contemporary Classical, Los Angeles, Women composers

Music of Pauline Oliveros in Los Angeles

On Tuesday, September 9, 2014 the Southland Ensemble presented a concert of the music of Pauline Oliveros at Human Resources in the arts-friendly Chinatown district of downtown Los Angeles. The performance space, with its wide open floor and lively acoustics was the perfect place given that the works of Ms. Oliveros typically include a theatrical component. The seating, arranged logically around the perimeter, was completely filled by those attending. The concert opened with Sonic Rorschach (1971) and for this groups of electric fans were arrayed in the corners to provide white noise, as called for in the composers notes for

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by Paul Muller