Relevant bibliographies by topics / Pauline Oliveros

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  2. Dissertations / Theses
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Academic literature on the topic 'Pauline Oliveros'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Pauline Oliveros"

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Kapusta, John. "Pauline Oliveros, Somatics, and the New Musicology." Journal of Musicology 38, no. 1 (January 1, 2021): 1–31. http://dx.doi.org/10.1525/jm.2021.38.1.1.

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This article examines the connections between experimental composer Pauline Oliveros, the US somatics movement, and the new musicology. While scholars tend to position Oliveros’s work within the familiar framework of women’s liberation and queer activism, we should instead understand Oliveros as a somatic feminist for whom somatic practice was synonymous with women’s liberation. Oliveros helped instigate an influential movement to integrate somatic discourse and practice into US musical culture—including music scholarship. Scholars of the so-called new musicology concerned with issues of embodiment also applied somatic concepts in their work. Oliveros and the new musicology share a history rooted in US popular culture of the 1970s. Across this period and beyond, US composers, performers, and scholars alike worked within and alongside the somatics movement to legitimize the performing body as a source of musical knowledge.
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Alarcón, Ximena, and Ron Herrema. "Pauline Oliveros: A shared resonance." Organised Sound 22, no. 1 (March 7, 2017): 7–10. http://dx.doi.org/10.1017/s1355771817000036.

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Burt, Warren. "Pauline Oliveros: Alien Bog/Beautiful Soop." Computer Music Journal 27, no. 3 (September 2003): 102–3. http://dx.doi.org/10.1162/comj.2003.27.3.102.

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Oliveros, Pauline. "Pauline Oliveros: The World Wide Tuning Meditation." Leonardo Music Journal 21 (December 2011): 85. http://dx.doi.org/10.1162/lmj_a_00076.

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Jacobson, Marion S. "Pauline Oliveros. The Wanderer. Important Records IMPREC 141, 2007. - Pauline Oliveros. Accordion & Voice. Important Records IMPREC 140, 2007." Journal of the Society for American Music 3, no. 1 (January 15, 2009): 121–23. http://dx.doi.org/10.1017/s1752196309091068.

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Mowitt, John. "Out of Her Depths: Playing With Pauline Oliveros." Parallax 26, no. 2 (April 2, 2020): 209–21. http://dx.doi.org/10.1080/13534645.2020.1766746.

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Oliveros, Pauline. "Pauline Oliveros in the Arms of Reynols: A Collaboration." Leonardo Music Journal 16 (December 2006): 64. http://dx.doi.org/10.1162/lmj.2006.16.64a.

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Ellen Waterman. "Sounding Out: Pauline Oliveros and Lesbian Musicality (review)." Women and Music: A Journal of Gender and Culture 14, no. 1 (2010): 95–98. http://dx.doi.org/10.1353/wam.2010.0006.

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Lange, Barbara Rose. "The Politics of Collaborative Performance in the Music of Pauline Oliveros." Perspectives of New Music 46, no. 1 (2008): 39–60. http://dx.doi.org/10.1353/pnm.2008.0010.

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Taylor, Timothy D. "The Gendered Construction of the Musical Self: The Music of Pauline Oliveros." Musical Quarterly 77, no. 3 (1993): 385–96. http://dx.doi.org/10.1093/mq/77.3.385.

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Dissertations / Theses on the topic "Pauline Oliveros"

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Chung, Sae-Hoo Stan. "Quantum improvisation : sonic consciousness and Pauline Oliveros." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/53165.

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Oliveros’s quantum improvisation is the result of listening deeply to the ethical co-emergence of improvising humans and intelligent machines. Pauline Oliveros’s Triple Point (with Doug van Nort and Jonas Braasch) consists of three human musicians performing live with a listening and improvising computer agent. Van Nort’s FILTER (Freely Improvising, Learning, and Transforming Evolutionary Recombination system) selectively listens and simultaneously plays with the musicians. This dissertation explores improvisation and contributes a cross-field definition of of this highly contested term: improvisation is the performance agency. The first of three movements provides a cross-field review of improvisation; the second movement employs autoethnography to study the sonic and social improvisations of Triple Point; the third movement explores quantum improvisation by employing writing as a performative tool to discover Oliveros’s ethical machine and human improvisation. The three interconnected types of improvisation are theorized as constraining and provoking improvisation: personal combinatory, social evolutionary, and ethical transcendent. This dissertation concludes with the claim that Oliveros’s quantum improvisation contributes to a theory of creativity that reverberates with socio-ethical connection and discovery.
Graduate Studies, College of (Okanagan)
Graduate
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McLaughlin, Hannah Christina. "Pauline Oliveros and the Quest for Musical Utopia." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6828.

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This thesis discusses music's role in utopian community-building by using a case study of a specific composer, Pauline Oliveros, who believed her work could provide a positive "pathway to the future" resembling other utopian visions. The questions of utopian intent, potential, and method are explored through an analysis of Oliveros's untraditional scores, as well as an exploration of Oliveros's writings and secondary accounts from members of the Deep Listening community. This document explores Oliveros's utopian beliefs and practices and outlines important aspects of her utopian vision as they relate to three major utopian models: the traditional "end-state" model, the anarchical model, and the postmodern "method" utopian model. Oliveros exhibits all three models within her work, although this thesis argues that she is, for the most part, a method utopian. While her ceremonial group improvisations like Link/Bonn Feier resemble anarchical works by John Cage, they exhibit a greater interest in the past and in process than most anarchical models allow. Likewise, while her visions of a future aided by AI and bio-technologies appear end-state, her improvisational works with her Electronic Instrument System (EIS) suggest a more process-based, method utopian approach. Her Deep Listening practice is deeply method-utopian, and her Center for Deep Listening can be viewed as an attempt at bringing these method utopian principles to the real world.
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McMullen, Tracy. "Presencing absence." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/mcmullen%5Fterry/index.htm.

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Jonsäll, Hans Lennart. "Mot händelsernas horisont : Att komponera improviserad musik med ljuddesign som metod." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85101.

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This Bachelor Thesis in composition explores an alternative compositional process for creating improvised music through the approach of sound design. The questions addressed in the thesis are concerned with how the soundscape can be controlled by the composer while still maintaining the expressivity of an improvised performance. Thus, the composer’s role as both sound designer, producer and performer is investigated using live electronics and score design. The theoretical framework for the thesis is to be found in the intersection between Anglo-American experimental music, electronic music, sound design and electroacoustic improvisation. Key influences include indeterminacy as expressed in the music of John Cage, Deep Listening practices pioneered by Pauline Oliveros as well as the aesthetical paradigms of electronic and electroacoustic music. The artistic methods revolved around the following steps: studio workshops with musicians (Fredrik Ekenvi and José Louis Relova Gallego) exploring timbres, playing techniques and music technology in real-time followed by associative discussions about the soundscapes created; composing audio and graphical drafts influenced by the workshops; designing diagrams for the electronics and compiling these to a design document; workshopping and performing the final piece (Towards the Event Horizon). Towards the Event Horizon (for bass clarinet, electric guitar and live electronics) is the final result of the work, comprising a score with accompanying design document as well as a recording of the original performance at Studio Acusticum in Piteå 20th of March 2021. The artefacts and associated documentation are presented in their entirety on the dedicated Research Catalogue exposition. Conclusions include how composition and sound design are tied together and cannot be considered as isolated processes, especially in the context of live electronics; the interrelationship between the improviser, the acoustic soundscape and the artistic associations that inform the improvisation; the importance of form as the defining element of a composition and lastly; how a score for improvised music can be devised in the shape of a blueprint of form and texture, setting certain technical, sonic and gestural conditions while leaving the performer to play freely within this frame.

Konstnärliga artefakter presenteras via Research Catalogue: https://www.researchcatalogue.net/view/1250652/1250651

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Paulin, Nicole [Verfasser], and Oliver [Akademischer Betreuer] Söhnlein. "Alpha defensins in vascular inflammation / Nicole Paulin ; Betreuer: Oliver Söhnlein." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1204005168/34.

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Schärfe, Charlotta Pauline Irmgard [Verfasser], and Oliver [Akademischer Betreuer] Kohlbacher. "Towards Personalized Medicine : Computational Approaches to Support Drug Design and Clinical Decision Making / Charlotta Pauline Irmgard Schärfe ; Betreuer: Oliver Kohlbacher." Tübingen : Universitätsbibliothek Tübingen, 2019. http://d-nb.info/1176510053/34.

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Rolewska, Paulina Anna [Verfasser], Klaus [Akademischer Betreuer] Humbeck, Babett [Akademischer Betreuer] Bartling, and Lars-Oliver [Akademischer Betreuer] Klotz. "Rolle des Transkriptionsfaktors cAMP response element-binding protein (CREB) bei der Lungenalterung / Paulina Anna Rolewska. Betreuer: Klaus Humbeck ; Babett Bartling ; Lars-Oliver Klotz." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2015. http://d-nb.info/1075492998/34.

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Bremner, Kelly J. G. "Listening in mutual respect the theatrical collaborations of Pauline Oliveros and Ione /." 2001. http://catalog.hathitrust.org/api/volumes/oclc/48043242.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 2001.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 126-131).
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Hiendl, Martin Alexander. "Queer Composition. Subversive Strategies in Western Classical Music." Thesis, 2021. https://doi.org/10.7916/d8-jjd0-6a75.

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This dissertation engages the question of what a queer aesthetics might look like in the context of contemporary music composition. Starting with a discussion of the problematics of “defining” queer (aesthetic) practices, I look at Pauline Oliveros’ 𝘚𝘰𝘯𝘪𝘤 𝘔𝘦𝘥𝘪𝘵𝘢𝘵𝘪𝘰𝘯𝘴, Julius Eastman’s 𝘎𝘢𝘺 𝘎𝘶𝘦𝘳𝘳𝘪𝘭𝘭𝘢 and Neo Hülcker’s 𝘈 𝘣𝘰𝘥𝘺 𝘦𝘴𝘴𝘢𝘺. 𝘍𝘪𝘤𝘵𝘪𝘰𝘯, 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 to uncover particular resistant and subversive strategies present in their works. In addition to a close examination of the original score materials, I look into queer theories and writings from fields other than music, such as dance/performance and the visual arts, in order to identify and apply some of the traits that could be called queer aesthetics (or practices/methodologies) to the field of contemporary music composition. Among the topics discussed will be considerations on time/timing, utopia/futurity, professionalism/failure, queer subject matter and form/format. Avoiding the trap of closing in on a canonization of queer music practices, it is the stated goal of this dissertation to expand the framework and contribute to a new understanding of what queer composition within the context of Western classical music might look like.
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Anaka, Nicole Elaine. "Women on the verge, sounds from beyond : extended vocal technique and visions of womanhood in the vocal theatre of Meredith Monk, Diamanda Galás, and Pauline Oliveros." Thesis, 2006. http://hdl.handle.net/1828/1838.

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Women composers have not traditionally been at the forefront of genre development. Western classical musical genres and formal structures tend to operate by conventions codified by male composers of European and North American descent, and, accordingly, reflect patriarchal aesthetics and viewpoints. The nascent genre of vocal theatre, however, has been primarily defined by the works of women composer/performers. Artists Meredith Monk, Diamanda Galas, and Pauline Oliveros have created new modes of theatre for the voice; in their personal explorations of extended vocal technique, the female voice is used as a tool for discovering, activating, remembering, and uncovering a consciousness that is primordial, pre/anti-logical, and oracular. My thesis proposes that the vocal theatre of these women functions as musical ecriture feminine, a term first introduced by French feminist theorist Helene Cixous. As a theoretical framework, ecriture feminine provides a particularly useful tool for interpreting these works, which, in the importance they place on openness, transcending language, embodied performances, and personal visions of womanhood, reveal aesthetic concerns that in many ways have more in common with the literary genre of ecriture feminine than those of canonical Western art music. I argue that these works are important not only as musical ecriture feminine, but as examples of an alternative, "feminine" compositional practice that prioritizes collaboration, improvisation, and intuitive modes of creativity. In doing so, they destabilize the traditional "maleness" of genre creation.
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Books on the topic "Pauline Oliveros"

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Mockus, Martha. Sounding out: Pauline Oliveros and lesbian musicality. New York: Routledge, 2008.

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Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge, 2007.

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Mockus, Martha. Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge, 2007.

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Mockus, Martha. Sounding Out: Pauline Oliveros and Lesbian Musicality. Routledge, 2011. http://dx.doi.org/10.4324/9780203935590.

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Feisst, Sabine. Negotiating Freedom and Control in Composition. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.005.

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This chapter discusses the many meanings of improvisation and free improvisation in Western classical music from 1950 to 1980 and examines criteria for improvisation, composition, and performance. It investigates concepts related to improvisation such as indeterminacy, chance, aleatory, open form, minimal music, and experimental music. Discussion focuses on the terminology, ideas, and selected works of Anthony Braxton, André Boucourechliev, Pierre Boulez, John Cage, Cornelius Cardew, Alvin Curran, Franco Evangelisti, Vinko Globokar, Roman Haubenstock-Ramati, Joëlle Léandre, Witold Lutosławski, Pauline Oliveros, Terry Riley, Karlheinz Stockhausen, Richard Teitelbaum, Frances-Marie Uitti, La Monte Young, and Pamela Z. Finally, it considers the role of composers and performers works involving improvisation, the improvisers’ relationship to the audience, and role of listeners in performances of improvised music.
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Abraham, Markus, Jan Christoph Bublitz, Julia Geneuss, Paul Krell, and Kilian Wegner, eds. Verletzte im Strafrecht. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783845296197.

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Vom 28. bis 30. März 2019 befasste sich das an der rechtswissenschaftlichen Fakultät der Universität Hamburg und an der Bucerius Law School abgehaltene 7. Symposium des Jungen Strafrechts mit dem Querschnittsthema „Verletzte im Strafrecht“. Die Spanne der nun vorliegenden Tagungsbeiträge reicht von einer grundlegenden Untersuchung der strafrechtsdogmatischen Stellung des Verletzen über Fragen aus dem allgemeinen Teil des Strafrechts, etwa das Verhältnis von subjektiven Tätervorstellungen und objektivem Opferschutz bei Rücktritt und tätiger Reue betreffend, bis hin zu prozessrechtlichen Themen wie zum Beispiel der Opferbeteiligung bei Verfahren vor dem Internationalen Strafgerichtshof, der Akteneinsicht des Verletzten sowie der Beteiligung des Verletzten bei den praktisch so bedeutsamen verfahrensbeendenden Absprachen. Zudem hat Prof. Dr. Dr. h.c. mult. Jan Philipp Reemtsma dem Band seinen auf dem Symposium gehaltenen Eröffnungsvortrag zum Thema „Täterstrafrecht und der Anspruch des Opfers auf Beachtung“ beigegeben. Mit Beiträgen von Dr. Oliver Harry Gerson, Dr. Philipp-Alexander Hirsch, Dr. Amina Hoppe, Dr. Constantin Lauterwein, Dr. Gurgen Petrossian, Prof. Dr. Dr. h.c. mult. Jan Philipp Reemtsma, Dr. Felix Ruppert, Pauline Schmitt, Dr. Lukas Staffler, Dr. Georgia Stefanopoulou
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Book chapters on the topic "Pauline Oliveros"

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Schmidt, Dörte. "Oliveros, Pauline." In Komponisten Lexikon, 433–35. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_212.

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Schmidt, Dörte. "Oliveros, Pauline." In Metzler Komponisten Lexikon, 553–55. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_211.

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"Pauline Oliveros." In Pink Noises, 27–33. Duke University Press, 2010. http://dx.doi.org/10.1215/9780822394150-003.

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Kahn, Douglas. "Pauline Oliveros." In Earth Sound Earth Signal, 174–86. University of California Press, 2013. http://dx.doi.org/10.1525/california/9780520257801.003.0014.

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"Pauline Oliveros." In Pink Noises, 25–33. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822394150-003.

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"Pauline Oliveros." In Pink Noises, 27–33. Duke University Press, 2010. http://dx.doi.org/10.2307/j.ctv1134dqn.6.

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"13. Pauline Oliveros. Sonosphere." In Earth Sound Earth Signal, 174–86. University of California Press, 2019. http://dx.doi.org/10.1525/9780520956834-016.

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"Conversation." In Sounding Out: Pauline Oliveros and Lesbian Musicality, 133–82. Routledge, 2011. http://dx.doi.org/10.4324/9780203935590-9.

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"Amplification." In Sounding Out: Pauline Oliveros and Lesbian Musicality, 27–46. Routledge, 2011. http://dx.doi.org/10.4324/9780203935590-6.

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"Meditation." In Sounding Out: Pauline Oliveros and Lesbian Musicality, 47–98. Routledge, 2011. http://dx.doi.org/10.4324/9780203935590-7.

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