By Martha Mockus
Sounding Out: Pauline Oliveros and Lesbian Musicality examines the musical occupation of the avant-garde composer, accordionist, whose radical recommendations of the Sixties, 70s and 80s have redefined the classy and formal parameters of yank experimental song. whereas different students have studied Oliveros as a disciple of John Cage and a modern of composers Terry Riley, Lou Harrison, Gordon Mumma, and Robert Ashley, Sounding Out resituates Pauline Oliveros in a gynecentric community of feminist activists, writers, artists and musicians. This ebook indicates how the ladies in Oliveros’s existence have been critical assets of inventive strength and alternate in the course of an important second in feminist and queer cultural historical past. Crafting a dynamic dating among feminism and music-making, this e-book bargains a queerly unique research of Oliveros’s paintings as a musical kind of feminist activism and argues for the efficient function of experimental track in lesbian feminist concept. Sounding Out combines key parts of feminist theories of lesbian sexuality with Oliveros’s significant compositions, performances, severe essays, and interviews. it's also formerly unpublished correspondence among Oliveros and Edith Guttierez, Jill Johnston, Annea Lockwood, Kate Millett, and Jane Rule.
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Extra info for Sounding Out: Pauline Oliveros and Lesbian Musicality
Resist descriptions of the process or any other extraneous verbalization. The purpose here is to make the imagery available. Socializing and etc. clouds the issue. 4. 10 As early as 1971 Oliveros had maintained an interest in “a non-verbal atmosphere,” and for six weeks in the Fall of 1971 she charged the Ǩ Ensemble with the task of remaining non-verbal during their meetings. 11 On December 7, 1971 Oliveros hosted a “marathon session” of sonic meditation (including potluck dinner and slumber party) at which the non-verbal contract ofﬁcially ended.
Indeed, the tape delay is the feature critics and reviewers of Bye Bye Butterﬂy have most often noticed. Heidi Von Gunden, in her analysis of the piece, writes, “The tape-delay technique and the frequency modulation produce wavelike gestures resembling sonic good-byes to Butterﬂy” (Von Gunden 1983, 57). However, the tape delays also suggest pulse, and the vibrations of blood. 11 Not only is Butterﬂy’s suicide evoked, but Oliveros seems to take the listener inside the vascular system, to listen from within the veins and arteries.
4. Walk once around the room as slowly as possible. 5. White Noise – Sit za zen. Hold rock(s) for Removing the Demon. Explore the shape, texture, weight, feel, etc. of the rock. Put the rock(s) behind you. ) A year later, the Ǩ Ensemble meetings retained a similar structure with an added feature: Oliveros often designated individual women to lead the group in speciﬁc activities. ” 1. Kinetic awareness. Lin please lead us through verbally beginning at 8:00 pm. 2. On a non-verbal atmosphere and its purpose for this group.