Pauline Oliveros’ Anthology of Text Scores contains over one hundred pieces that span four decades of creative work. Collected in one comprehensive volume, these individual and group meditations, as well as solo and ensemble performance pieces are invaluable resources for performing musicians, music students, and anyone interested in the life work of one the most unique voices in modern music. Featuring an introduction by Brian Pertl.
Among the scores included are: 70 Chords for Terry, All Fours for the Drum Bum, Angels and Demons, Arctic Air, Body Tune Up, Buffalo Jam, Deep Listening Meditations – Egypt, Dissolving Your Earplugs, Earth Ears, The Earthworm Also Sings, Energy, Follow Yourself, Four for Forty, The Gender of Now: There but Not There, God Dog, Horse Sings From Cloud, Imaginary Meditations, Just Listening, Klickitat Ride, Lullaby for Daisy Pauline, Metacolors, The New Sound Meditation, Noise-Silence, One Sound Once, Pebble Music, Piano Piano, Quintessential, Rhythms, Rock Piece, Saxual Orientation, Sex Change, Sound Fishes, String-Utopia, Thirteen Changes, Two for T, Urban and Country Meditations, Welcoming the Light, Wheel of Life, and Word Sound.
SPECIAL INVITE: Deep Listening Institute and Deep Listening Publications extends an open invitation to musicians, non-musicians and deep listeners to share their past, present or future performances of Pauline Oliveros’ text scores, in particular, ones from the new anthology. To share your performance url or for any questions, contact Catalog Manager Al Margolis or Lisa Barnard Kelly.
“In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting maneuver for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who reveled in the freedoms offered, paradoxically, by this most corporate of fields.
Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. Featuring original art by Robert Beatty and an introduction by George A. Romero—whose use of library music in Night of the Living Dead changed film history— Unusual Sounds is mandatory reading for anyone interested in this enigmatic field and its hidden but pervasive cultural influence.
David Hollander is an artist, filmmaker and collector. He is a co-founder of CineMarfa, a film festival dedicated to showcasing rare and unseen films in Marfa, Texas. He lives in San Antonio.”
via Mexican Summer
“Sr Anselme was the youngest of 7 children, born into a poor family in Galway city during the Second World War. Sr Anselme entered the enclosed community of Carmelite Nuns in Loughrea, Galway, at the age of 16, and remained there until her death. Over the course of her life she became responsible for all aspects of music within the convent and raised the quality of the nuns’ singing to a very high standard. Her organ playing was considered particularly fine.”
by Jennifer Walshe
Vocalist Elaine Mitchener remembers New York composer-performer Julius Eastman. His music drew from classical, jazz and minimalism and expressed life as a gay, black artist.
Available on BBC 4
Michael Veet Ruiliunde was one of the key figure of the abstract new Zealand sound aesthetic. Now he is behind two project: Lifespace and Witcyst IC recorder.
The first is an endless blog of releases accompanied by youtube clips and DIY graphics. The format of the blog almost seems to suggest a continuous remix of the various pages starting from the simple internet browser.
IC recorder on the contrary is an endless collection of more than 200 recordings made, probably, with the recorder Sony IC Device that was used in the 90s to record voice memos. Its quality has made it one of the favorite instruments of the noise of the period. It seems an expansion of sites dedicated to radio art such as Sonosphere.org.
What emerges from both blogs is a use of the internet as a gigantic sound diary of which it seems difficult to see the end. It affects the variety of sounds and atmospheres in a project that must be considered not only as individual elements, but, from a higher vision, like a gigantic work, is that it does not have many emuli in the whole Internet.
“We use a modified SampleRNN architecture to generate music in modern genres such as black metal and math rock. Unlike MIDI and symbolic models, SampleRNN generates raw audio in the time domain. This requirement becomes increasingly important in modern music styles where timbre and space are used compositionally. Long developmental compositions with rapid transitions between sections are possible by increasing the depth of the network beyond the number used for speech datasets. We are delighted by the unique characteristic artifacts of neural synthesis.”