Center for Deep Listening at Rensselaer
Tomie Hahn Director
hahnt "at" rpi.edu

 

    

 

Voice Coil

Carrier Band

Pauline Oliveros, accordion with Expanded Instrument System
Peer Bode, live text with Bode Vocoder
Andrew Deutsch, live mixing, archival recordings, samples, loops and electronics

Voice Coil was performed by the Carrier Band in the fall of 2003 at the Deep Listening Space in Kingston, New York. Pauline Oliveros performed on accordion and computer based Expanded Instrument System, Peer Bode performed live text with his Bode Vocoder, and Andrew Deutsch performed live mixing, archival recordings from the Bode archive, samples, loops and electronics. Voice Coil is an example of an improvisation emphasizing the integration of analog systems and new digital tools between performers both living and deceased. In 2007 Andrew Deutsch added about 35 minutes of short overdubs to the recordings and has brought the recording closer to what the audience heard at the Deep Listening Space. Furthermore, the overdubs provide added depth to the work for repeated listening.

Frozen Speaker is an electronic composition by Andrew Deutsch and features sections from Oliveros¹s Music for Expo 70. Video Voice uses sounds from
Pauline Oliveros¹s electronic works V of IV and Mewsak, as well as elements of Stephen Vitiello¹s Light Meter recordings.

The Carrier Band was formed in 1998 when Pauline Oliveros, Peer Bode, and Andrew Deutsch performed 3 improvisations at Alfred University that were later released as the Carrier CD on the Deep Listening label.

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Anthology of Essays on Deep Listening - Monique Buzzarté & Tom Bickley, editors

In this ground-breaking work, twenty-three authors investigate and discuss composer Pauline Oliveros' revolutionary practice of Deep Listening. From an education program reaching 47,000 San Francisco school children to electronic dance music (EDM) events held in remote desert locations, from underwater duets with whales to architectural listening, the multifaceted essays in this collection provide compelling depictions of Deep Listening's ability to nurture creative work and promote societal change.

 Edited by Monique Buzzarté and Tom Bickley, with a foreward by Pauline Oliveros, the anthology's essay authors are Anne Bourne, Viv Corringham, Renee T. Coulombe, Lara Davis, Stuart Dempster, Fred Frith, Heloise Gold, Lesley Greco, Lawton Hall, Ione, Susan Key, Norman Lowrey, Miya Masaoka, Paula Matthusen, Thollem McDonas, Kristin Norderval, Jann Pasler, Fabian Racca, Dana Reason, David Rothenberg, Scott Smallwood, Suzanne Thorpe, and Gayle Young.

Reviews:

http://library.queensu.ca/ojs/index.php/gems/issue/current
http://makemag.com/review-deep-listening/

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In the Language of the Dream

New Vanguard Series - October 1, 2006

This performance was presented as part of Ione's 11th Annual Dream Festival

David Arner - Piano
Rosi Hertlein - Violin, Voice

All compositions by David Arner and Rosi Hertlein
Published by Canopia Publishing, BMI

1. The Threshold - 6:53
2. The Scene - 11:35
3. The Openings - 10:45
4. Romance Fantasy - 8:15
5. Memories - 8:13
6. Only Events Exists - 7:46 LISTEN

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Deep Listening Anthology Volume Two

Deep Listening Anthology Volume Two

 

The Deep Listening Anthologies are collections of work by musicians and artists from around the world who have embraced the ideas of Deep
Listening in their own ways. Inspired by DL's tenets of listening, openness and play, these volumes contain a wonderful variety of interpretations and integrations of global ideas into individual practices.

This volume is the second Deep Listening Anthology, containing mostly instructional scores by composers, along with scores in traditional
notation, poetry, visual art, and other writings. Over 45 contributors are represented in this collection for 2010. This book can be enjoyed as a resource for performers and ensembles interested in experimental music, as a statement of community among followers of DL practice and admirers of Pauline Oliveros, and as material for musicians thinking about possibilities.

This can also be ordered as a download from Lulu.

http://www.lulu.com/product/paperback/deep-listening-anthology-ii/15830514

and as an ebook:

http://www.lulu.com/shop/deep-listening-composers/deep-listening-anthology-ii/ebook/product-15982078.html

Contributing Composers include Ximena Alarcon, Jacki Apple, Nancy Beckman, Gelsey Bell, Anne Bourne, Patricia Bullitt, Micahel Bullock, Jonathan Chen, Viv Corringham, Alan Courtis, Sharon Sheslow, Stuart Dempster, Steven Dunning, Steven Eiler, Adam Fong, Dexter Ford, Joel Ford, Gigi Gamble, Ron Herrema, Matthew Hettich, Holland Hopson, Brenda Hutchinson, Marc Jensen, Ryan Keebaugh, Guy Klucevsek, Elaine Lillios, Anthony Martin, Roozbeh Nafisi, Ron Nagorcka, Adam Overton, Paul Pinto, Laurie Polster, William Roper, Andrea La Rose, Edward Schocker, Brian Schorn, Francis Schwartz, Sepand Shahab, Una Ni She, Dorothy Sinclair, Anna Stein, Sharon Stewart, Katharina Von Ruette, Sarah Weaver, Glenn Weyant and Jennifer Wilsey.

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Big Deep

Pauline Oliveros & Roscoe Mitchell Duo. 'O Milhaud Mio. Recorded at The Kitchen, NYC on April 18, 2009. Roscoe Mitchell - saxophones, Pauline Oliveros - accordion/Expanded Instrument System, Benton-C Bainbridge - video artist/light designer. Audio Engineer: Will Swofford/Doug Van Nort. Technical Director of The Kitchen: Bob Bellerue. mp3 audio file 24:13

 

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Global Reflections

Jonas Braasch

The core of the project "Global Reflections" is a collection of Binaural Soundscapes which were recorded between the years of 1998 and 2006. They are presented on the odd tracks of this CD. What has fascinated me most about these pieces is nature's ability to align independent events to form interesting patterns. For this, I took the standpoint of the observer; my credits are merely due to choosing the time and place of the recording. Consequently, the effect is often similar to aleatoric works of music. I hope you will share my enthusiasm about the variety of auditory icons in each Soundscape, which makes a city identifiable. All even tracks contain pieces of my own work. The solo improvisations in Tracks 2, 6, 10, and 14
can be seen as an abstract transformation of my perceived environment. Only the beginning theme in Track 2 was fixed before the recording. In Track 10, you might be able to notice my affection for repetitive and machinery like sounds.

Tracks 4, 8, and 12 consist of ensemble recordings with soprano saxophone, Moog bass, and Soundscape fragments. One goal was to preserve the original character of each instrument or environmental sound opposed to making their origin unidentifiable through extensive electronic processing. Indeed in some cases, the lengthy Soundscapes shape the character of the piece, and again I am surprised how often their aleatoric elements tend to fit perfectly into the music. "A Night in Battambang" was written in 1995 while visiting my parents in Cambodia. The piece was performed using the classic rock trio formation of lead instrument, bass and drums when I arranged the song for this CD. "Time to Move On" is based on a Turkish 9/8 rhythm, the Karsilama. Originally, the piece had a theme but in the end, I liked the track better without it. I decided to counterpoint the long, circular-breathed saxophone phrases with abrupt changes for the remaining instruments. The ballad, "Blues Me," started as an experiment while wondering why tenor saxophone ballads are usually slower than alto and soprano saxophone ballads. At 50 beats per minute, this ballad is at the lower end of most Tenor Ballads. Long Soundscape passages were chosen to reflect the lethargy.

Jonas Braasch is a soprano saxophonist, improviser/composer, acoustician and a dedicated collector of binaural soundscapes. He grew up in the Ruhr Area, Germany's cultural melting pot, and Pusan, South Korea. His saxophone style expands the traditional repertoire [in both Classical Music and Jazz idioms] by incorporating various non-western elements, as well as original extended techniques.

Another aspect of his work is the integration of soundscapes and other concrete elements, a clear reflection of his personal relationship with the environment. This sensibility has inspired him to create complex synthetic sound fields which he then integrates into his compositions. To improve the control over the spatial parameters of these sound fields, he developed a
virtual environment to simulate sound recording techniques based on Virtual Microphone Control (ViMiC).
This recording has been optimized for sound reproduction with headphones.

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Sonic Territories: Jonas Braasch

Sonic Territories is 12 works for 12 distinct acoustic spaces. Composer/performer Jonas Braasch utilizes soprano saxophone, field recordings, and electronic processing.

"Sonic Territories investigates the creative potential that various acoustic environments can unleash. Opposed to the current ideal of quiet recording studios that do not distract the performer from inner thoughts, I was looking for spaces that inspire and mess around with me, by influencing and guiding my performance. A number of the recorded spaces, I only encountered once to capture my initial impression. Other spaces I have fought with until I found something that sounded better in this space than anywhere else in its own right." - Jonas Braasch

DVD is region free, instrumental music, with Dolby 5.1 surround sound

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Fluctuations

 Monique Buzzarte & Ellen Fullman

"Monique Buzzarté and Ellen Fullman began working together in June 2005. These collaborative compositions are rooted in tonalities that unfold with unexpected possibilities. Buzzarté's trombone navigates and merges through an infinite array of distinct overtones from Fullman's Long String Instrument. With slight timbral variations and pitch juxtapositions, sympathetic resonances articulate overtone colorations and threads of resultant melodic fragments emerge and intertwine."

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Automatic Inscriptions of Speech Melody

Carrier Band

"The Carrier Band was formed in 1998 when Pauline Oliveros, Peer Bode and Andrew Deutsch performed 3 improvisations at Alfred University and later released the Carrier CD on DL. The title piece 'Automatic Inscription of Speech Melody' is a trio improvisation by Carrier Band based on quotes written in the technical notebooks (1934-1949) of pioneering electronic instrument developer Harald Bode. The piece weaves words and phrases excerpted from the notebooks spoken and vocoded by Peer Bode through the Bode Vocoder. The vocoder transfers speech onto pitched sounds and the VOICE releases the CARRIER sounds. These texts, along with Pauline's electronic sounds created on her Difference Box were mixed with loops and excerpts of Harald Bode's demo tapes and synthesized sounds constructed by Deutsch. The LFO drone heard at the beginning was Pauline's entrance into the piece. 'Earth Orbit' is a quartet improvisation which Dick described as being 'the most fun he's ever had performing' loops and text from Harald Bode's notebooks were once again used along with data sets generated by Deutsch."

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Kingston Tone Roads

New Vanguard Series - September 10, 2006

Connie Crothers - Piano
Kevin Norton - Percussion, Vibraphone
Richard Tabnik - Alto Saxophone (track 4 only)

1. Its Components Are Now Regarded - 22:32
    (Crothers, C&C Jazz, ASCAP, Norton, Enduring Heart, ASCAP)
2. Kinetics - 3:57 LISTEN
    (Crothers, C&C Jazz, ASCAP, Norton, Enduring Heart, ASCAP)
3. Limned In Phase - 12:33
   (Crothers, C&C Jazz, ASCAP, Norton, Enduring Heart, ASCAP)
4. One Earth - 10:40
   (Crothers, C&C Jazz, ASCAP, Norton, Enduring Heart, AASCAP, Tabnik, Tabnik Music, ASCAP)

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