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Pauline Oliveros Papers http://oac.cdlib.org/findaid/ark:/13030/c86w9d7v Online items available Pauline Oliveros Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2013 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Pauline Oliveros Papers MSS 0102 1 Descriptive Summary Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Pauline Oliveros Papers Creator: Oliveros, Pauline, 1932-2016 Identifier/Call Number: MSS 0102 Physical Description: 20.4 Linear feet(31 archives boxes, 7 flat boxes, 2 map case folders, and 2 card file boxes) Date (inclusive): 1931-1981 Abstract: Papers of Pauline Oliveros (1932-2016), American experimental musician, composer and key figure in the development of contemporary electronic music. The collection contains Oliveros' original writings, compositions, correspondence and sketches. Also included are interviews, programs and reviews, teaching materials and writings about and relating to Oliveros' work. Languages: English . Restrictions Original media formats are restricted. Viewing/listening copies may be available for researchers. Acquisition Information Acquired 1981-1996. Preferred Citation Pauline Oliveros Papers, MSS 102. Special Collections & Archives, UC San Diego. Scope and Content of Collection Papers of Pauline Oliveros, composer, accordionist and former music professor at UCSD. Materials include correspondence, works and writings by Pauline Oliveros and others, manuscripts of Oliveros' compositions, subject files, reel-to-reel audio tapes and ephemera. These materials were originally located at UCSD's Music Library. Arranged in eleven series: 1) WORKS BY PAULINE OLIVEROS, 2) WRITINGS, 3) PROJECTS, 4) INTERVIEWS AND CRITICISMS, 5) PROGRAMS AND REVIEWS, 6) UNIVERSITY MATERIALS, 7) WORKS BY OTHERS, 8) WRITINGS BY OTHERS, 9) CORRESPONDENCE, 10) BIOGRAPHICAL and 11) ELECTRONIC MUSIC SYSTEMS. Biography Pauline Oliveros was born in Houston, Texas in 1932. An accomplished accordionist, composer and teacher, she is an instrumental figure in the world of electronic music. Oliveros was a founding member of the San Francisco Tape Music Center, a resource for electronic music in the 1960s. Later, the Center moved to Mills College and became the Center for Contemporary Music where Oliveros was the Center's first director. Oliveros' teaching career spans several decades. She left Mills College in 1967 when she accepted a faculty position at the University of California, San Diego. From 1976-1979 Oliveros served as the director of the Center for Music Experiment (CME), later renamed The Center for Research in Computing and the Arts (CRCA) at UCSD. In 1981 she moved to upstate New York to work as an independent composer and performer. She then became the Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, in Troy, New York and the Darius Milhaud Artist-in-Residence at Mills College. Oliveros is the founder of The Deep Listening Institute, formerly the Pauline Oliveros Foundation. In 1991 she coined the term "Deep Listening". The Institute explains Deep Listening philosophy , stating that it "distinguishes the difference between the involuntary nature of hearing and the voluntary selective nature of listening. The result of the practice cultivates appreciation of sounds on a heightened level, expanding the potential for connection and interaction with one's environment, technology and performance with others in music and related arts." Out of this philosophy, Oliveros formed the Deep Listening Band with fellow musicians David Gamper and Stuart Dempster. Oliveros has been a great influence on American electronic and experimental music. In 2009, she won the William Schuman Award for lifetime achievement from Columbia University and in 2010, a retrospective of her work from 1960 to 2010 was performed in honor of the award. On March 19th, 2012, Oliveros became the recipient of the John Cage Award from the Foundation of Contemporary Arts. Also in 2012, Pauline Oliveros celebrated her 80th birthday with year long celebration performances, Deep Listening activities and residencies. Pauline Oliveros Papers MSS 0102 2 Some of her notable works include Sonic Meditations, Sound Patterns, and Theater of Substitution series. She has also written several books on music theory and electronic music including Sounds the Margins: Collected Writings 1992-2009, Deep Listening: A Composer's Sound Practice, Roots of the Moment, Software for People: Collected Writings 1963-80. Oliveros died November 24, 2016 in Kingston, New York. Digital Content Most of the Pauline Oliveros Papers have been digitized, with the exception of oversize (material with "FB" or "MC" container designations) and some published content. Many folders in the collection, such as writings and correspondence, may be viewed without restriction by clicking directly on the blue title links. Musical works and compositions, and related materials in shared folders with musical works and compositions, may only be viewed by registered users through the Library's Virtual Reading Room service. Please request all musical works directly from the finding aid for access facilitated through the Library's virtual reading room service. Items available online Subjects and Indexing Terms Music -- 20th century Avant-garde (Music) -- United States -- 20th century Composers -- United States -- 20th century Electronic music Computer music Deep Listening Band Deep Listening Institute University of California, San Diego. Center for Research in Computing and the Arts University of California, San Diego. Center for Music Experiment WORKS BY PAULINE OLIVEROS Scope and Content of Series Series 1) WORKS BY PAULINE OLIVEROS: Arranged in two subseries: A) Compositions and B) Sketches. A) Compositions: Oliveros' catalog of musical compositions from 1951-1980, manuscript scores, drafts, sketches and related programs, correspondence and photographs. Notable works include Sonic Meditations, Sound Patterns, and Theater of Substitution series. B) Sketches: Interpretive artwork and composition notes from 1957-1960. Some unidentified and oversized sketches are also included. Compositions Box 1, Folder 1-3 Complete catalog of the compositions 1951-1980 https://library.ucsd.edu/dc/object/bb0006289p General Aranged in approximate alphabetical order, A-Z. Includes details of instrumentation, programs and ephemera, first and subsequent performances, commissions, etc. Box 1, Folder 4 Aok. Includes manuscript score, draft, sketches, and correspondence 1969 Box 1, Folder 5 Accordion. Includes diagram and tentative program 1966 Box 1, Folder 6, Adagio for woodwinds. For flute, oboe, clarinet, horn, and bassoon. Includes Oversize FB-402-01 holograph score in multiple drafts 1957 Aeolian Partitions Box 1, Folder 7 For flute, clarinet, violin, cello, and piano. Published score (1970) 1969 Box 1, Folder 8 Includes manuscript score, draft and publication materials, slide, programs, and correspondence 1969 Box 1, Folder 9 Anarchy Waltz. Includes manuscript score, annotated photocopy, programs, and review 1980 Pauline Oliveros Papers MSS 0102 3 WORKS BY PAULINE OLIVEROS Compositions Box 1, Folder 10 Angels and Demons. Includes manuscript score, mimeograph and programs 1980 Box 1, Folder 11 Apple Box Orchestra. Sketch Box 1, Folder 12 Arrangement. By Douglas Leedy, with further arrangements by Pauline Oliveros and Roger Davis. Includes typescript score and program 1972 Box 1, Folder 13 Art of the Woodcut. Music for the film "The Art of the Woodcut." Includes holograph score, instructions and photograph Box 1, Folder 14 Autobiography of Lady Steinway. Manuscript score 1978 Box 1, Folder 15 Bath. Includes holograph score and sketches 1966 Box 1, Folder 16 Big Mother Meets the Wolfman. Includes a photocopy of letter to Robert Ashley 1969 Box 1, Folder 17 Bio-Theatre. Includes notes for Mandeville Center opening ceremony, festivals and courses. Also includes correspondence and Trainability of Listening Comprehension of Speed Discourse 1975 Box 1, Folder 18 Birthday Tune for Laurel. Includes holograph score Bonn Feier (1977) Box 1, Folder 19 Includes published score, notes, letters, newspaper clipping, slides, color photocopies of photographs, notebook General Original chromes located in ASC2/M102/006-076 (no 028, 044-048) and two unnumbered sleeves. Box 1, Folder 20 Clippings and award Box 1, Folder 21 Super 8 film Box 1, Folder 22 Bye Bye Butterfly. Includes program and recording contract 1975 C(s) for Once Box 1, Folder 23 Drafts 1966 Box 1, Folder 24 Includes holograph score and published version in Focus on Musicology, with annotations and notes 1966 Box 1, Folder 25 Cat O Nine Tails. Includes instructions, graph and miscellaneous notes 1965 Box 2, Folder 1, Cats. Holograph sketch and text Oversize FB-402-02 Box 2, Folder 2 Ceremony of Sounds. For Tamar Read. Includes manuscript score, drafts and correspondence 1974 Box 2, Folder 3 Cheap Commissions. Includes requests for commissions, payment and responses. Also includes photographs 1976 - 1980 https://library.ucsd.edu/dc/object/bb47162289 Box 2, Folder 4 Chronicles of Hell. Music for the San Francisco Mime Troupe. Includes scripts and partial holograph score 1965 Box 2, Folder 5 Circuitry. Includes holograph score and notes 1967 Box 2, Folder 6 Cock-A-Doodle Dandy. Music for the Actor's Workshop Production of Sean O'Casey's "Cock-A-Doodle Dandy," directed by Herbert Blau. Includes
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