Maulwerker performs Pauline Oliveros

TONIGHT 7pm EST / 4pm PST

pauline oliveros / worldwide tuning meditation














lincoln center out of doors festival (south plaza) 7pm EST

&

malibu creek state park (abandoned water tower) 4pm PST

Pauline Oliveros, "Outline"

Liner Notes From Nonesuch H-71237:

1. Pauline Oliveros (b. 1932) Outline, for Flute, Percussion and String Bass (An Improvisation Chart) (1963) (14:19)

Nancy Turetzky, flutes; Ronald George, percussion; BERTRAM TURETZKY, contrabass

Pauline Oliveros, for many years one of the moving forces in the San Francisco Tape Center, is also most prominently represented on recordings by electronic music, to the unfortunate neglect of her instrumental compositions. Miss Oliveros' years of work with improvisation, both as performer and as teacher, are reflected in Outline, which, in her words, "presents performers with an opportunity to improvise in several ways: to choose pitches according to the given contour, to make rhythms in the spaces provided, and to improvise without directions within a given time length. The written material provides the influence for the style of improvisation." The work was written in 1963 for Mr. Turetzky and his wife Nancy, and premiered in May of that year by the Turetzkys at Yale University. Miss Oliveros, a colleague of Mr. Turetzky's on the UCSD music faculty, worked with the performers and the engineer to assure the authoritative quality of this recording.

Pauline Oliveros, "Sound Patterns"

Liner Notes From Odyssey 32 16 0156:

Toshi Ichyanagi: Extended Voices (for Voices With Moog Synthesizer and Buchla Associates Electronic Modular System)

The Brandeis University Chamber Chorus, Alvin Lucier, Director

In Pauline Oliveros' jet-propelled Sound Patterns, the conductor deals with precise, difficult rhythmic structures that have many changes of tempo. The singers improvise pitches within broad areas of high, middle, and low and are asked to produce a varied assortment of sounds, including whispers, tongue-clicks, lip-pops, and finger-snaps. The vocal noises along with tone clusters produced by the pitch improvisations, create a humorous electronic effect.

In Ichyanagi's Extended Voices, singers use musical instruments, such as slide whistles, to extend the range of their voices. At the same time, electronic instruments transform the voices in terms of timbre, range, and dynamics. The written score consists mostly of sustained sounds and glissandos of varying lengths and speeds. The development of the material depends upon a cueing arrangement that instructs the singer to perform in relation to sounds he hears another performer make. Extended Voices also includes a pre-recorded tape, composed of purely electronically produced sounds, that functions as complementary or accompaniment material.

Pauline Oliveros, "I of IV"

Liner Notes From Odyssey 32 16 0160:

Pauline Oliveros was born in 1932 in Houston, Texas. She studied composition with Robert Erickson and Thomas Nee and was a member of the San Francisco Tape Music Center from 1961 through 1967, working and touring with fellow composers Morton Subotnick and Ramon Sender. In 1966, she became Director of the Tape Music Center at Mills College and is currently Lecturer in Electronic Sound at the music department of the University of California at San Diego. She writes of the work presented here:

"I of IV was made in July, 1966, at the University of Toronto Electronic Music Studio. It is a real time studio performance composition (no editing or tape splicing), utilizing the techniques of amplifying combination tones and tape repetition. The combination-tone technique was one which I developed in 1965 at the San Francisco Tape Music Center.

"The equipment consisted of twelve sine-tone square-wave generators connected to an organ keyboard, two line amplifiers, mixer, Hammond spring-type reverb and two stereo tape recorders. Eleven generators were set to operate above twenty thousand cycles per second, and one generator at below one cycle per second. The keyboard output was routed to the line amplifiers, reverb, and then to channel A of recorder 1. The tape was threaded from recorder 1 to recorder 2. Recorder 2 was on playback only. Recorder 2 provided playback repetition approximately eight seconds later. Recorder 1 channel A was routed to recorder 1 channel B, and recorder 1 channel B to recorder 1 channel A in a double feedback loop. Recorder 2 channel A was routed to recorder 1 channel A, and recorder 2 channel B was routed to recorder 1 channel B. The tape repetition contributed timbre and dynamic changes to steady state sounds. The combination tones produced by the eleven generators and the bias frequencies of the tape recorders were pulse modulated by the sub-audio generator."

Pauline Oliveros, "Poem of Change"