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35. Pauline Oliveros

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Manage episode 416444118 series 3531754
Content provided by Fundación Juan March. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Fundación Juan March or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ro.player.fm/legal.

“Pauline Oliveros es un ser humano de dos piernas, mujer, lesbiana, músico, compositora y otras cosas que contribuyen a su identidad”, según la propia definición de la co-fundadora del San Francisco Tape Music Centery creadora del concepto “Deeplistening”.

_____

Has escuchado
A Love Song (1984). Pauline Oliveros, acordeón, electrónica; Barbara Noska, voz; Guy Klucevsek, acordeón; Charles Forbes, violonchelo, [et al] . hat ART (1985)

Electronic Work. I of IV (1966). Paradigm Discs (2006)

Tara’s Room (1986). Pauline Oliveros, acordeón en afinación justa, sistema instrumental expandido. Important Records (2019)

_____

Selección bibliográfica

ANDERSEN, Drake, “Spaces for People: Technology, Improvisation and Social Interaction in the Music of Pauline Oliveros”. Organised Sound, vol. 22, n.º 2 (2022), pp. 1-8*

ARCANGEL, Cory y Pauline Oliveros, “Pauline Oliveros”. BOMB, n.º 107 (2009), pp. 84-89*

GORDON, Theodore, “‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation”. Contemporary Music Review, vol. 40, n.º 4 (2021), pp. 386-408

GREY, Louise, “The Primer. The Music and Philosophies of Pauline Oliveros”. The Wire, n.º 460 (2022), pp. 28-85

KAHN, Douglas, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, 2013

LOVELESS, Stephanie (ed.), A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. Terra Nova Press, 2024

MOCKUS, Martha, Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge, 2011

OLIVEROS, Pauline, “Auralizing in the Sonosphere: Vocabulary for Inner Sound and Sounding”. The Journal of Visual Culture, vol. 11, n.º 2 (2011), pp. 162-168

—, Anthology of Text Scores by Pauline Oliveros 1971-2013. Deep Listening Publications, 2013

—, “Sonar en los límites”. Cuadernos de Música, Artes Visuales y Artes Escénicas, vol. 14, n.º 1 (2019), pp. 155-162

—, Deep Listening . Una práctica para la composición sonora. EdictOràlia, 2019*

—, Sonic Meditations. Ministry of Maat, 2022

*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

  continue reading

43 episoade

Artwork
iconDistribuie
 
Manage episode 416444118 series 3531754
Content provided by Fundación Juan March. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by Fundación Juan March or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ro.player.fm/legal.

“Pauline Oliveros es un ser humano de dos piernas, mujer, lesbiana, músico, compositora y otras cosas que contribuyen a su identidad”, según la propia definición de la co-fundadora del San Francisco Tape Music Centery creadora del concepto “Deeplistening”.

_____

Has escuchado
A Love Song (1984). Pauline Oliveros, acordeón, electrónica; Barbara Noska, voz; Guy Klucevsek, acordeón; Charles Forbes, violonchelo, [et al] . hat ART (1985)

Electronic Work. I of IV (1966). Paradigm Discs (2006)

Tara’s Room (1986). Pauline Oliveros, acordeón en afinación justa, sistema instrumental expandido. Important Records (2019)

_____

Selección bibliográfica

ANDERSEN, Drake, “Spaces for People: Technology, Improvisation and Social Interaction in the Music of Pauline Oliveros”. Organised Sound, vol. 22, n.º 2 (2022), pp. 1-8*

ARCANGEL, Cory y Pauline Oliveros, “Pauline Oliveros”. BOMB, n.º 107 (2009), pp. 84-89*

GORDON, Theodore, “‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation”. Contemporary Music Review, vol. 40, n.º 4 (2021), pp. 386-408

GREY, Louise, “The Primer. The Music and Philosophies of Pauline Oliveros”. The Wire, n.º 460 (2022), pp. 28-85

KAHN, Douglas, Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, 2013

LOVELESS, Stephanie (ed.), A Year of Deep Listening: 365 Text Scores for Pauline Oliveros. Terra Nova Press, 2024

MOCKUS, Martha, Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge, 2011

OLIVEROS, Pauline, “Auralizing in the Sonosphere: Vocabulary for Inner Sound and Sounding”. The Journal of Visual Culture, vol. 11, n.º 2 (2011), pp. 162-168

—, Anthology of Text Scores by Pauline Oliveros 1971-2013. Deep Listening Publications, 2013

—, “Sonar en los límites”. Cuadernos de Música, Artes Visuales y Artes Escénicas, vol. 14, n.º 1 (2019), pp. 155-162

—, Deep Listening . Una práctica para la composición sonora. EdictOràlia, 2019*

—, Sonic Meditations. Ministry of Maat, 2022

*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

  continue reading

43 episoade

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