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My mother brought home the accordion in 1942. I was fascinated and wanted to learn to play it. Some of my music has a relationship to dance styles - The Well and the Gentle or The Wanderer for example.

Pauline Oliveros

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Pauline Oliveros
Age: 84 †
Born: 1932
Born: May 30
Died: 2016
Died: November 24
Accordionist
Composer
Music Theorist
Musician
University Teacher
Houston
Texas
Wanted
Dance
Accordions
Wells
Relationship
Accordion
Well
Style
Wanderer
Play
Example
Wanderers
Learn
Styles
Mother
Fascinated
Home
Gentle
Music
Brought

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The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.
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You invent things like algorithms to take care of some of the changes you want to make. The changes aren't detectable. There's all kinds of things happening as I play.
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I have a commission to do a piece in a place in California, Oliver Ranch, which has an eight-storey structure called The Tower designed by the visual artist Ann Hamilton.
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Radio broadcasting was only 25 years old when I was born in 1932.
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Everybody improvises their way through every day. And so I do that with music.
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The mission [of institution] won't change. It will continue to be what it is: to spread the practice of deep listening and introduce it to people, to do workshops and retreats and certification programs and so on.
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[My interest in music] is from my mother and my grandmother, who were pianists, and they taught.
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My mother brought accordion home. She was going to learn to play it so she could teach it and increase her income. And I got fascinated with it, so she backed off and let me do it.
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A mouse and a keyboard is not a good performance instrument.
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We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.
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Those people who don't have any voluntary control, or hands, can work with the physical movement that they can do - whatever voluntary movement they have, even the slightest .
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When I am composing, the sounds are leading me to the way I want them to organize.
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When I composed the first sonic meditation, I realized that I was composing the direction of attention.
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Listening is selecting and interpreting and acting and making decisions.
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My writing has always been a rather non-linear process. I've found if I get something down, I can listen to it and other things start to come.
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It might be fun to have audience members wander up the ramps as well, so they can listen from different vantage points.
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It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals can teach deep listening.
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When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string tape from one machine, past the heads, and over to the next machine to the supply-reel amp, and have another delay there.
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It takes time because the habitual response to that is very deep. It goes back to our earliest responses as babies. You have to feel safe, and if a sound is threatening, you're going to be upset. There are those early responses, depending on how and what kind of experiences you had.
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Deep listening is experiencing heightened awareness or expanded awareness of sound and of silence, of quiet, and of sounding - making sounds.
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