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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.

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
Going
Income
Brought
Increase
Teach
Learn
Accordions
Mother
Accordion
Home
Backed
Play
Fascinated

More quotes by Pauline Oliveros

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A mouse and a keyboard is not a good performance instrument.
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Radio broadcasting was only 25 years old when I was born in 1932.
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Listening is not the same as hearing and hearing is not the same as listening
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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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Listening is selecting and interpreting and acting and making decisions.
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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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I wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.
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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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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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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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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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I used to go into the studio around midnight and stay all night.
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Something that I did, and I developed out of that sonic meditations, which were pieces that I composed in the '70s that now are very well-known and used in many classrooms all over the world, but at the time were outrageous.
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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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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.
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Everybody improvises their way through every day. And so I do that with music.
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In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.
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I thought that it would be interesting to have a mirror and grab a light and shine it around in different ways. It's an analog to the acoustic reflections that we're going to be trying to activate as well.
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I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.
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I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
Pauline Oliveros