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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.

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
California
Oliver
Eight
Hamilton
Piece
Commission
Structure
Tower
Pieces
Towers
Called
Visuals
Artist
Visual
Place
Designed
Ranch

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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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I had to cope with attitudes that were not supportive all along. I mean, you still have that.
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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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When I am composing, the sounds are leading me to the way I want them to organize.
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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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We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.
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There are these sounds that come from outside that work really well if you're listening. If you're not listening, if you're blocking them out, then you don't get it. You don't get the merger of what the players are doing with everything, listening to everything.
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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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You run into stereotypes so that the stereotype filters who you are and what you do, and having to deal with that was the most frustrating thing for me.
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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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I can't really deal with buttons. And that's what I keep saying, Okay, I can't push buttons, because that means I have to take my hands off the keyboard or the buttons or whatever. Don't you understand! .
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[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.
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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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The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].
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Everybody improvises their way through every day. And so I do that with music.
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A mouse and a keyboard is not a good performance instrument.
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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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I felt a challenge to compose music. That's where my challenge was, for the most part.
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Radio broadcasting was only 25 years old when I was born in 1932.
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