American Composer, performer and author, born 1932. In the early '60s, Oliveros — with Morton Subotnick and Ramon Sender — formed the San Francisco Tape Music Center, and, there, she began her pioneering work with electronics and tape. In performances, Pauline Oliveros uses an accordion which has been re-tuned in two different systems of her just intonation in addition to electronics to alter the sound of the accordion. Throughout the years, she has developed the Extended Instrument System (EIS), a sophisticated setup of digital signal processors designed for use in live performances. Examples of her use of the system can be heard on recordings by the Deep Listening Band. Her early electronic works appear on a pair of CDs: Alien Bog/Beautiful Soop (Pogus, 1997) and Electronic Works (Paradigm, 1998).
Oliveros
Profile:
Sites:
In Groups:
Variations:
edit
genres
sort
Discography
| Releases: | ||||
| At The Ijsbreker, Jan 24, 1999 (CD, Album, Dig) | JDK Productions | 1999 | ||
| Springs (CD, Album, Ltd) | Magic If | 1999 | ||
| Summer Bugs (CDr, Ltd) | Magic If | 1999 | ||
| Appears On: | ||||
| (Voices) (CD, Album) | Approaches And Departures | Metatron Press | 1998 | |
| Automatic Inscription Of Speech Melody (CD, Album) | Institute For Electronic Arts, Deep Listening | 2000 | ||
| M.O.O.T. (7") | Columbia | |||
| Unofficial Releases: | ||||
| Creelpolation 1 (3xCDr) | M.O.O.T. - Music Of Ou... | Creel Pone | 2006 | |
▸ show all 1 review
Reviews & Discussion
Who would would've thought that such instrument as accordion which is almost forgotten in modern music, might sound this eerie. Pauline Oliveros creates long and melancholic pieces by using accordion and some electronic effects. The results might make almost any non-believer blush. Unfortunately, innovative ideas and virtuosity doesn't always mean recognition. Ms. Oliveros has been quietly doing her thing for more than 30 years now and she's still active as of today. Most likely, her work will be remembered as some of the most important, but ultimately underrated and misunderstood in the field of avantgarde music of the late 20th /early 21st century.