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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.

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
Bunch
Wrote
Using
Meditation
Students
Joshua
Took
Meditations
Tree
Sonic
Started
Boulders

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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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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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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 not the same as hearing and hearing is not the same as listening
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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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Listening is selecting and interpreting and acting and making decisions.
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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.
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I had a lot of good times. I had a lot of fun. I liked what I was doing, so I just kept doing it. At the Tape Music Center, I was working from midnight to four in the morning. Because then it was quiet, nobody was there, and I could just do my work. I didn't have to fool around.
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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 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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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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I got very interested in attention and awareness and how to achieve certain states through understanding this.
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Everybody improvises their way through every day. And so I do that with music.
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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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[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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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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When I am composing, the sounds are leading me to the way I want them to organize.
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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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