Deep Listening: a Composer's Sound Practice by Pauline Oliveros
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Deeeepp LLiisstteniing Deeeepp LLiisstteniing A Composer’s Sound Practice Pauline Oliveros iUniverse, Inc. New York Lincoln Shanghai Deep Listening A Composer’s Sound Practice Copyright © 2005 by Deep Listening Publications All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the publisher except in the case of brief quotations embodied in critical articles and reviews. Grateful acknowledgment is made to Andrew Taber for permission to reprint excerpts from Reflections and Research into the Slow Walk. Grateful acknowledgment is made to Mohamed Khaldi for permission to reprint excerpts from What is Attention. Grateful acknowledgment is made to Doug van Nort for permission to reprint excerpts from Noise to Signal: Deep Listening and the Windowed Line. Grateful acknowledgment is made to T. J. Szewczak for permission to reprint excerpts from Posten Kill. Grateful acknowledgment is made to Caterina De Re for permission to reprint excerpts from Deep Listening Retreat, July 1999 Muerren, Switzerland. Grateful acknowledgment is made to Maika Yuri Kusama for permission to reprint excerpts from Deep Listening Koans and the Wizard of Oz. iUniverse books may be ordered through booksellers or by contacting: iUniverse 2021 Pine Lake Road, Suite 100 Lincoln, NE 68512 www.iuniverse.com 1-800-Authors (1-800-288-4677) ISBN: 0-595-34365-1 Printed in the United States of America CONTENTS Foreword ........................................................................................................xi Preface ..........................................................................................................xv Introduction ................................................................................................xxi Deep Listening Practice ..................................................................................1 Summary of the Deep Listening Class ........................................................2 Description of the Deep Listening Practice Sessions (Activities) ................3 Bodywork ..................................................................................................5 Exercise Preparation ..............................................................................5 Natural Stance ................................................................................5 Posture ............................................................................................5 The Exercises ........................................................................................5 Arm Swinging ..................................................................................5 Wrap and Slap ................................................................................6 Taoist Face Wash ............................................................................6 Shoulder and Body Slap with Hanging Out ....................................7 Abbreviated Yoga Sun Salute ............................................................7 Swimming Dolphin (Chi Kung) ......................................................7 Dragon Tail (Chi Kung) ..................................................................8 Good in Bad out (Chi Kung) ..........................................................8 Flower Breathing (Chi Kung) ..........................................................8 The Energy of Rising/Falling (T’ai Chi) ..........................................8 Breath Wheel (T’ai Chi) ..................................................................9 Energy Sphere ..................................................................................9 Commentary ..................................................................................9 v vi • Deep Listening Breath ......................................................................................................10 The Exercises ......................................................................................10 Breath Improvisation ....................................................................10 Breath Regulation ..........................................................................10 Commentary ................................................................................10 Listening ..................................................................................................12 The Exercise ......................................................................................12 Commentary ......................................................................................12 Ways of Listening ....................................................................................13 Forms of Attention ............................................................................13 Sending and Receiving ........................................................................13 Sound/Silence ....................................................................................14 Palms of Hands ..................................................................................14 Soles of Feet ........................................................................................14 Whole Body ........................................................................................15 Multi-dimensional Listening ..............................................................15 Listening Journal ......................................................................................17 The Exercise ......................................................................................17 How to Use Your Journal ..............................................................17 Recording Your Inner Experiences: Remembering and Remembering to Remember. ............................................17 Recording Observations of the External Soundscape ......................18 What does it Mean to Collect All Sounds? ....................................19 Extreme Slow Walk ..................................................................................20 The Exercise ......................................................................................20 Commentary ......................................................................................20 Four Modes of Thought ..........................................................................21 The Exercise ......................................................................................21 Sensation ......................................................................................21 Intuition ........................................................................................21 Feeling ..........................................................................................21 Thinking ......................................................................................21 Commentary ................................................................................22 Pauline Oliveros • vii Discussion ................................................................................................23 The Exercises ......................................................................................23 Partner ..........................................................................................23 Group ............................................................................................23 Commentary ................................................................................23 Rhythm Circle ........................................................................................24 The Exercises ......................................................................................24 Heartbeat ......................................................................................24 60 Beats per Minute (bpm) ..........................................................24 Multiples and Divisions of 60bpm ................................................24 Variations ......................................................................................24 Hemiola ........................................................................................25 Shifting Accents Improvisation ......................................................25 Zina’s Circle: Fast Reaction Time ..................................................25 Commentary ................................................................................26 Field Recording ........................................................................................27 The Exercise ......................................................................................27 A Study in Mixed Environments ....................................................27 A Study in Pulses ..........................................................................27 Commentary ................................................................................28 Deep Listening Pieces ....................................................................................29 Sound Cycles (1994) ................................................................................30 Collective Environmental Composition (1975) ........................................31 Earth: Sensing/Listening/Sounding (1992) ..............................................32 Deep Listening Through The Millennium (1998) ....................................33 Ear Piece (1998) ......................................................................................34