Deep Listening Artists

Artists that are involved with the activities of the Deep Listening Institute, Ltd. are listed here.  Some are Deep Listening Certificate Holders, some have been associated with other programs and performances of the Institute.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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

 

    

 

Phoebe Legere

New York, USA

TRANSMEDIA SOUND ARTIST.

Using film, music, installation, electronics, paint, circuits, invented instruments, traditional instruments, performance art, poetry, costumes and movement I create physical singing theater.

My current project:

The communal eating of the body of God is a theme found in many religions. In my Opera Symphony I play Corn Mother, the Penobscot cultural heroine who allowed herself to be dismembered and eaten so that her people could live. The Mother Symphony is a critique of modern consumerism and gluttony. I use hunger as metaphor for abusive power relationships. With drawings, costumes, music, projected scores, texts and orchestration I show how the human body evolved. Both Native Americans and scientists agree that all life forms are descended from one organism. The Penobscot people of Maine called her "Corn Mother;" evolutionary Biologists call her, “Thermaplast,” the heat loving, sulpher eating modal bacter that lived in hydrothermal vents on the ocean floor 3.6 billion years ago. Mother Symphony will underline the processes that transform food and water into life. I will condemn the culture of death that draws people into fatal addictions and self-negating choices. The Human Intestine contains 100 trillion microorganisms all coexisting and working together. The diversity, fragility and ecology of the GI tract is something ignored by most Americans. The human intestine is a fragile environment. Each person is the steward of his or her internal ecosystem. As one doctor has said, “the American diet leads to American diseases.” Using paintings, films, text and orchestration I will conjure ancient organisms whose descendants we are. Reaching back into early earth history and the co-evolution of plants and animals, I will make a visionary plea to the healing world of plants and I will invoke the ancient Penobscot mythic animals and heroes to help me generate an iconography of self transformation. In this era of post- post- feminism the time is right for a fully orchestrated multimedia salute to our supernatural creative hero, Corn Mother.


http://www.nyundergroundmuseum.org/artist1.php

 

Norman Lowrey

Norman Lowrey is a mask maker/composer, Chair of the Music Department at Drew University with Ph.D. from the Eastman School of Music. He is the originator of Singing Masks, which incorporate flutes, reeds, ratchets and other sounding devices. He has presented Singing Mask ceremony/performances at such locations as Plan B and SITE Santa Fe in Santa Fe New Mexico, Roulette and Lincoln Center in New York, and at the site of pictograph caves outside Billings, Montana. His most recent work has been making virtual versions of his masks for use by the Avatar Orchestra Metaverse online in Second Life.

"Musical imagination (and all art as far as I'm concerned) begins with listening. The Deep Listening Institute is doing work which is at music/art's heart. It's at the core of my life/work. To quote Keith Jarrett, "It's all about listening... and being ready.""

All Releases by Norman Lowrey

Pamela Madsen

California, USA

I am a composer, performer (piano, spoken voice, electronics) and scholar engaged in exploring issues of form and the feminine voice by finding new modes of expression through reflection on the body, women’s rituals and myths through my recent works: electroacoustic opera/installation We are All Sibyls, with Judy Chicago, Sedna for Zeitgeist, video/spatialized electronics and collaborative electroacoustic collection Sea Nymphs with flutists Anne LaBerge and Jane Rigler. I focus on collaboration, process, transformation and transcendence in performance through intensive focus on the moment, voice and virtuosity in conjunction with multi-media and spatialized electronics and work collaboratively with performers and artists to create new works that challenge technical, musical, and personal limitations to enact the subconscious and perhaps engage larger, spiritual influences to emerge. As curator of the International Women's Electroacoustic Listening Room Project and Women in New Music Festival I present and research works by women composers throughout the world.

 

Al Margolis (If, Bwana)

Dominique Mazeaud

Dominique Mazeaud's passion is to put her art in service of her community and beyond. In interactive performances like “The Point of Tears” created for her 'peace through culture' tour of Colombia in 2001 and 2002, “The Sorry Book Traveling Shrine” for Peace Day in 2006 or “The Priestess of Generosity” created for the Network of Spiritual Progressives' Generosity Sunday in 2007, she creates spaces for a deep listening to the heart. Since 1979, her calling has been to find “the spiritual in art” and her journey hence has centered on uncovering the meaning of the word 'heartist.'


http://www.earthheartist.com

All Releases by Dominique Mazeaud

Kim McCarthy

Kimberly A. McCarthy, Ph.D., M.M. first met Pauline Oliveros in 1979 via a one paragraph description in “Grout,” the canon of classical music history. The second meeting occurred at a conference in 1984. McCarthy zombied up to Pauline and said “This…is…an...important…meeting.” Pauline quickly looked for the nearest exit, all too familiar with the groupie psyche. In 1991 Kim was crabby. She didn’t want to go to the concert. In a huff she plopped down in the dark, third-tier seat. But something caught her eye. It was a head. Seated before her. There was…something…familiar. Shock and excitement set in as in this chance event Kim realized it was Pauline Oliveros. THIS WAS A SIGN!




All Releases by Kim McCarthy

 

Brigitte Meyer

Brigitte Meyer (1954)
I am a dl-certificate holder and live in St.Gallen, Switzerland.
I consider myself an improviser in life and in music making (cello and voice)
In my work with people as a counsellor, director or mentor, listening is part of my daily job. Recent collaborations took or take place with Christine Zehnder-Probst (musician); Andrea Graf (author), Helen Davey (musician).
I play in various bands, who have nice names like “Spieltrieb East”; “Bunte Hörschlaufen and “Cantastrozzi” CD: “Work in Progress”; Instant Composings for Cello and Voice (2005)




All Releases by Brigitte Meyer

 

Leaf Miller

 

 

Stephan Moore

Stephan Moore is a composer, audio artist, and sound designer in New York City. He has graduated from from Rensselaer Polytechnic Institute, Western Michigan University, and Interlochen Arts Academy. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity.

Recent performances and installation artworks make use of a large multi-channel array of his hemispherical speakers. He performs regularly as half of the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught courses in sound art and electronic music at Maryland Institute College of Art, Peabody Conservatory, Massachusetts College of Art, Rensselaer Polytechnic Institute, and Simon's Rock College of Bard.

He is currently the Sound Supervisor of the Merce Cunningham Dance Company.




All Releases by Stephan Moore

 

Michelle Nagai

Brooklyn-based composer Michelle Nagai utilizes sound, physicality and concept to create site-specific performances, installations, radio broadcasts, dances and other interactions that address the human state in relationship to its setting. Recent creative projects incorporate through-composed and improvised music for acoustic instruments and electronics, as well as natural environments, found objects, video, costumes, texts and structures fabricated from a variety of media. In addition, she has developed a number of web-based projects centered on the topic of soundwalking. Nagai’s work has been presented throughout the US, Canada and Europe. She has been supported by the American Composers Forum, Eyebeam, Harvestworks, the Jerome and McKnight Foundations, Meet the Composer and Rensselaer Polytechnic Institute. Nagai is a founding member of the American Society for Acoustic Ecology and holds a teaching certificate from the Deep Listening Institute.