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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.

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
Music
Heads
Machine
Reel
Center
Francisco
Machines
String
Couple
Delay
Next
Supply
Another
Tape
Past
Strings

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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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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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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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Before that, an 8-bit recording was pixelated it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.
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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 used to go into the studio around midnight and stay all night.
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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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[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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I got very interested in attention and awareness and how to achieve certain states through understanding this.
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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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Everybody improvises their way through every day. And so I do that with music.
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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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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 felt a challenge to compose music. That's where my challenge was, for the most part.
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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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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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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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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 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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Radio broadcasting was only 25 years old when I was born in 1932.
Pauline Oliveros