Pauline Oliveros - Composer Commissioned by the Oliver Ranch Foundation for Ann Hamiltonâ€™s Tower
TO THE AUDIENCE: The bell that you receive from the Bell Mistress is yours to play during the performance and to keep as a memento of Tower Ring. Ring your bell as instructed and cued by the Bell Mistress.You will be able to see her at the bottom level of the Tower as she leans over the railing and conducts the bell ringing.
PROGRAM Audience greeting from Steven Oliver Audience instruction from Bell Mistress on cues for bell ringing during performance. Audience procession to Tower with bells led by Bell Mistress Conch calls from Tower and Cornelius Cardew Choir (CCC) answering from the ridge outside the tower. Arrival at the entrance where Dance Master invites audience to enter Tower. Section 1 Audience members enter Tower one by one and take places on the stairs while gong sounds continuously. When Dance Master enters Tower all sound is silenced. Continued next page...
Section 2 Gong ascends to level 2 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. JDBBBDJ (John Diamondâ€™s Big Beautiful Brass Dijeridu) with CCC by Stuart Dempster. Section 3 Gong ascends to level 3 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. Primordial Pulses by George Marsh and Jennifer Wilsey with CCC by Pauline Oliveros. Section 4 Gong ascends to level 4 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. Long Wire with Lady of Spoken Word and CCC. Section 5 Gong ascends to level 5 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. Harmonica solo and Dance Master with wood percussion. Section 6 Gong ascends to level 6 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. Overtone flute with guiros, scrapers, rhythm sticks and long wire. Section 7 Gong ascends to level 7 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. Dance Master dances with Lady of Spoken Word, long wire, garden hose, and choir. Section 8 Gong ascends to level 8 and is struck by the Gong Master. CCC bells ring followed by audience bells with cues from Bell Mistress. All performers ring and sing in a grand crescendo. CCC descends following Bell Mistress to exit. Dance Master exits and appears at the audience entrance and invites the audience to exit. Conches sound CCC answers conch calls from the ridge outside Tower as Bell Mistress leads the audience back to the buses for departure.
THE PERFORMERS In order of appearance or being heard Brenda Hutchinson – Bell Mistress Tom Bickley - Choir Master Cornelius Cardew Choir Christopher Pilafian – Dance Master George Marsh – Gong Master Ryan Ross Smith – Gong Hoister Stuart Dempster – Didjeridu Master/conch/garden hose Jennifer Wilsey – Percussion Master/conch Chris Chafe – Long Wire Master John Granzow – Long Wire Assistant Pauline Oliveros – Harmonica/conch Ione - Lady of Spoken Word David Gamper – Overtone Flutes/conch Suiren – Ring Sketcher Ryan Jobes– Dance Master Assistant Nick Kanozik – Dance Master Assistant Lydia Martin – Bell Mistress Assistant Andrea Williams – Bell Mistress Assistant Cornelius Cardew Choir Tom Bickley - Choir Master Nancy Beckman Diane Caudillo Tom Duff Brad Fischer Frances Hopson Cathryn Hrudicka Bob Marsh Marianne McDonald Kalonica McQuesten Anne O’Rourke Una Nakamura Eric Glick-Riemann Nathan Rosquist Katherine Setar Sarah Rose Stiles Eric Theise Sandra Yolles
Crew Adria Otte – Project Manager Lisa Barnard Kelley – Production & Stage Manager Ione – Project Director & Costume Concept Christopher Pilafian – Choreography Rachel Koenig – Assistant Stage Manager & Make-Up Assist Katherine Setar – Costume Assistance Brad Fischer - Costume Assistance Chris Chafe – Long Wire Concept John Granzow – Long Wire Engineer Dave Marshall – Gong Pulley Assembly Nico Bovoso - Graphic Designer Documentation Crew Cindy Collins – Video Rachel Condry – Audio Aimee Friberg - Photography Richard Links – Audio Peter Pilafian - Video Laurie Polster – Video Assistant Benjamin Tinker – Video Benefit Committee Pauline Oliveros Ione Nancy Beckman Tom Bickley Antonio Bovoso Wendy Burch David Felton Brad Fischer Brenda Hutchinson Marianne Tomita McDonald Una Nakamura Katherine Setar
Notes from the Composer: Tower Ring is specifically composed for Ann Hamiltonâ€™s magnificent Tower. This resonant structure calls out for ringing, singing and ceremony. I am pleased to bring together the musicians and choir that I have worked with over many years for these two performances. All are exceptional especially in their ability to listen and understand resonance as instrumental and key to performing. Ann Hamilton intended her Tower for performance and I am honored to have the privilege to activate the Tower as an instrument as well as an exceptional venue. Sounds take on new qualities in the Tower. Thus the gong rises to articulate the eight stories of the Tower as well as the eight sections of the composition. Each of eight sections has a unique sonic flavor with different configurations of players. The Bell Mistress cues the audience for the ringing of their bells as the gong descends each time. The eighth section finale calls for all to ring and sing in a grand crescendo culminating with the final descent of the gong to the reflecting pool. My thanks to Ann Hamilton and Steve Oliver for this wonderful opportunity. -Pauline Oliveros A MESSAGE FROM THE ARTISTIC DIRECTOR OF DEEP LISTENING INSTITUTE Deep Listening Institute is more vibrant than ever. The breadth and depth of our community has expanded. We embrace and affirm the healing aspects of technology. Our activities range from the large international participation in our streamed events, to the intimate sharing of dreams on invitational blogs, to multi-locational conferences, to informal salons, exhibitions, and receptions at Deep Listening Space in Kingston, NY. Inspiring Deep Listening Intensives and Study Groups take place throughout the world. We are heartened that our Adaptive Use Musical Software (deeplistening.org/site/ adaptiveusesoftware ) continues to be free for those who request it, providing a powerful and joyful means for musical self-expression for children and adults with severely limited movement. We move forward in this extraordinary time in the world, with a certainty that music and sound, that inner reflection and self- observation through listening, dreaming and body awareness make a positive difference in the world. It is a difference in which we can all participate, a feast in which we can all partake. Please join us at the table! As always, we welcome and appreciate your generous tax-exempt donations to Deep Listening Institute, Ltd. You help us to continue our work in the world. -IONE
Biographies: Pauline Oliveros (1932) has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations. During the mid-’60s she served as the first director of the Tape Music Center at Mills College, aka Center for Contemporary Music followed by 14-years as Professor of Music and 3 years as Director of the Center for Music Experiment at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music in the Arts department at Rensselaer Polytechnic Institute (RPI) where she is engaged in research on a National Science Foundation CreativeIT project. Her research interests include improvisation, special needs interfaces and telepresence teaching and performing. She also serves as Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and she is executive director of Deep Listening Institute, Ltd. where she leads projects in Deep Listening, Adaptive Use Musical Interface. She is the recipient of the 2009 William Schuman Award from Columbia University for lifetime achievement. A retrospective from 1960 to 2010 was performed at Miller Theater, Columbia University in New York March 27, 2010 in conjunction with the Schuman award. She received a third honorary degree from DeMontort University, Leicester, UK July 23, 2010. Cardew Choir director Tom Bickley grew up in the semitropical soundscape of Houston, sojourned in Washington, DC (studying music, religion, and information science) and came to California as a composer in residence at Mills College in 2000. He was in the first class to receive the Certificate in Deep Listening. He is a member of the library faculty at CSU East Bay and teaches the recorder at the Bay Area Center for Waldorf Teacher Training. He plays with shakuhachi player Nancy Beckman as Gusty Winds May Exist, with recorder players David Barnett and Judy Linsenberg as Three Trapped Tigers. Chris Chafe is a composer, improvisor, cellist, and music researcher with an interest in computers and interactive performance. He has been a long-term denizen of the Center for Computer Research in Music and Acoustics where he is the center’s director and teaches computer music courses. Three year-long periods have been spent at IRCAM, Paris, and The Banff Centre making music and developing methods for computer sound synthesis. The SoundWIRE project launched in 2000 involves real-time Internet concertizing with collaborators the world over. New tools for playing music together and research into latency factors continue to evolve. An active performer either on the net or physically present, his music is heard in Europe, the Americas and Asia. The five countries Resonations concert was hosted by the United Nations in Nov. 2009. CD’s of works are available from Centaur Records. Gallery and museum music installations are continuing into their second decade with biological, medical and environmental “musifications” featured as the result of collaborations with artists, scientists and MD’s.
The Cornelius Cardew Choir sings at the intersection of inclusive community and experimental music, strongly influenced by Cornelius Cardew and his circle in the 1960’s and ‘70’s in England. We draw inspiration from the experimental music tradition and musicians such as Pauline Oliveros and John Cage. In our decade as an ensemble we have performed with the Deep Listening Band at Sounding the Margins (for the 70th birthday of Pauline Oliveros), at the Chapel of the Chimes, for the International Society for Improvised Music, at the St. Gregory’s Spring Music Festival, and in a variety of celebratory surreptitious performances. Oliveros’ Heart Chant and WindHorse have become core repertory for the choir. The initial meeting was held in Berkeley on Mayday 2001 organized by cofounders Tom Bickley, Bob Marsh and Kattt Atchley. We intend our mutually supportive work to be compassionate, joyful and liberating political action. As Bertolt Brecht noted, “Art is not a mirror held up to reality, but a hammer with which to shape it.” Stuart Dempster--Sound Gatherer--trombonist, composer, didjeriduist, et al, and Professor Emeritus at University of Washington, has recorded for numerous labels including Columbia (Sony), Nonesuch, and New Albion. The latter includes In the Great Abbey of Clement VI at Avignon - a “cult classic” - and Underground Overlays from the Cistern Chapel consisting of music sources for a 1995 Merce Cunningham Dance Company commission. Grants include: Creative Associate at SUNYAB; Fellow, Center for Advanced Study, University of Illinois; Fulbright Scholar (Australia); NEA Composer, US/UK, and Guggenheim Fellowships. Dempster’s book The Modern Trombone: A Definition of Its Idioms published in 1979. A founding member of Deep Listening Band, TAIGA celebrated 20 years with a DLB LP Then & Now Now & Then 2008. Dempster sooths aches, pains, and psychic sores with his healing, yet playful, Sound Massage Parlor. Two Golden Ear Awards; Deep Listening 2006; Earshot Jazz 2009. International Trombone Association Lifetime Achievement Award 2010. David Gamper moves freely among the worlds of composition, improvisation, and electronic instrument design and construction. These passions merge in his performer controlled sound processing environments for improvising acoustic musicians. Recordings include many with Deep Listening Band. At the IJsbreker has been described as “the pinnacle of the Oliveros-Gamper collaborations, music that through its depth, reveals ever more profound expression.” His solo piece Conch was in the Whitney Museum of American Art’s 2001 BitStreams. His current primary focus is SeeHearNow, a collaboration with photographer Gisela Gamper, which performs immersing music and video live improvisations in site specific installations. www.seehearnow.org John Granzow is a musician, instrument builder, and puppet maker. He also conducts cognitive research, investigating action perception links in audition. He is presently a PhD student at the Centre for Computer Research in Music and Acoustics at Stanford University
Brenda Hutchinson is a composer and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. Hutchinson encourages participants to experiment with sound, share stories, and make music. Brenda also improvises on a 9 1/2 foot tube with a gestural interface she designed. She has been an artist in residence at San Quentin Prison, Headlands Center for the Arts, Harvestworks, Exploratorium, Ucross and Djerassi. She is the recipient of the Gracie Allen Award from American Women in Radio and Television and has received support from the NEA, Lila Wallace, McKnight Foundation, and NYSCA and Meet the Composer among others. Recordings of her work are available through TELLUS, Deep Listening, O.O. DISCS, Frog Peak Music and Leonardo Music Magazine. Ione is an improvising word and sound artist who performs frequently in the United States and internationally. She is the Artistic Director of Deep Listening Institute, Ltd. and the Director of the Ministry of Maåt, Inc. As an author, playwright and poet her works include the memoir Pride of Family; Four Generations of American Women of Color (Random House), Nile Night; Remembered Texts from The Deep and Listening in Dreams. Her interactive digital memoir Pride’s Daughter is forthcoming in 2012. Ione is the playwright and director of Njinga the Queen King, the dance opera Io and Her and the Trouble with Him, The Lunar Opera; Deep Listening For_Tunes and director of the film; Dreams of the Jungfrau. A specialist in dreams and the creative process, Ione conducts seminars and retreats throughout the world. Nick Kanozik is a MA composition student at Mills college (BM at the University of North Texas). His interests lie in anthropomorphic treatment of sound, organic systems, media translations...symbols, colors, and book. He is an aspiring sonic alchemist. Lisa B Kelley is a vocalist, writer, performance artist and Events Coordinator for Deep Listening Institute. She has honed her skills over the years in acting, movement, stage direction/design, puppetry, jazz/free improvisation and sound production which she experiments with in performances including elements of spoken work, vocalization, masks, music and movement. She dedicates her craft to exploring the open field of vocal expression from within and through the guidance of her mentors. Kelley is currently developing an art project HerStory in the Making with visual artist Sadee Brathwaite based on their studies of Egyptian cosmology with Ione and the Ministry of Maåt. George Marsh is a San Francisco based jazz drummer, composer, and teacher, currently with the David Grisman Sextet, Bloom, and Timeless Pulse. He is the author of the highly acclaimed instruction book, Inner Drumming, which deals with energy flow inside the drummer’s body. He can be heard on many CDs including those with John Abercrombie, Terry Riley, David Grisman, Jerry Garcia, Pauline Oliveros, Allaudin Mathieu, Denny Zeitlin, Maria Muldaur, and many others. Rick Van Horn, senior editor of Modern Drummer magazine says “Marsh is, in himself, one of the most versatile percussion sections in jazz”.George has taught drumming and rhythm theory at the University of California, Santa Cruz, and at Sonoma State University since 1982. He also teaches at his private studio in Santa Rosa California.
Lydia Martín is a grad student at Mills College studying Composition. She has a BFA in Percussion performance from Calarts and has recently played with Tom Buckner, Petr Kotik, Christian Wolfe, William Winant, Ulrich Krieger, the Comtemporary Music Players, The Santa Cruz Chamber Players, Gamelan Sekar Jaya, Gamelan Gadung Kastori, and Gamelan X. Adria Otte is a multi-instrumentalist whose primary focus has been on violin and guitar. She studied music at Bard College and has performed in ensembles ranging from string quartets to rock bands to free improvisation groups. She also studies and performs p’ungmul, a form of traditional Korean percussion music. She has acted as curatorial assistant for Meridian Gallery’s monthly music series, Meridian Music: Composers in Performance, since early 2005. Christopher Pilafian has danced on stage, television and in film with choreographers Alvin Ailey, Judith Jamison, Charles Moulton, Louis Falco, Matthew Diamond, Kathryn Posin and many others. In New York, after receiving training at Interlochen Arts Academy, with an award in choreography and The Juilliard School, where he received the Doris Humphrey Scholarship and the Louis Horst Fellowship, Mr. Pilafian became a founding member, principal dancer and Associate Artistic Director of Jennifer Muller/The Works, touring throughout Europe, The Middle East, North, Central and South America from 1974 to 1989. He has created over 40 dance works including commissions for Princeton University, Dance Kaleidoscope, Jennifer Muller/The Works, Repertory-West Dance Company, American Repertory Dance Company and Santa Barbara Dance Theatre. He has choreographed for theater and film and earned an international reputation as a teacher. Mr. Pilafian has been a member of the faculty of the UC Santa Barbara Department of Theater and Dance since 1990. He is also a visual artist. http://www.theaterdance.ucsb.edu/people_facultyprofile.php?ResearcherID=149 Ryan Ross Smith has been writing and performing music in New York City for the last decade, as well as composing music for film, dance, and the concert stage. His work has been performed throughout the U.S., Brazil, Korea, and Europe. He is currently pursuing an MFA in Electronic Music at Mills College. For more information, visit: powplay.me Suiren, her given artist name, a.k.a. Renko Ishida Dempster: Born and raised in San Francisco, her work is influenced by Japanese aesthetics and Buddhist philosophy inherited from her parents. Suiren’s work includes costume design/ construction for theater; performances of drawings with Seattle’s movement, sound, and visual arts collective ROOM; and exhibitions in the Northwest including Seattle’s Northwest Asian American Theater’s RAW Gallery “Celebrating Year of the Dragon” ; Jack Straw New Media Gallery (Seattle) “Dream–Time–Pieces” and Commencement Gallery in Tacoma “Drawn From…”. Suiren collaborated with Deep Listening Band for the 2002 Sound Symposium, St. Johns Newfoundland. She has performed with ARTKOAMIA in Seattle. She was also an Associate Artist-in-Residence at the Atlantic Center for the Arts with Deep Listening Institute. She has shown works in the Painted Word Exhibition, Evergreen State College, Olympia WA. and Suiren was a Deep Listening Convergence Artist at Lifebridge
Sanctuary in High Falls NY. She has drawn in real time at the Tanabata Remix concert at Seattle’s Chapel Performance Space. She also painted in real time during “Abundant Sound Gardens: In Memory of Toyoji Tomita” at San Francisco’s Meridian Gallery 2009. Her art appears on the CDs Echoes of Syros (2008), Traveler’s Todi (2010), and Flight Patterns (2010). Andrea Williams is an artist, composer, and educator currently based in Oakland, CA. She enjoys using site-specific elements and perceptual cues to reveal the unseen connections between people and their environment. Listening, memory, and group collaboration are recurrent themes. Her work has been exhibited and performed both solo and with various artists at galleries and alternative spaces, most recently at the Whitney Museum, Yerba Buena Gardens Festival, NPR, Fountain Miami Art Fair, and the Mamori sound artist residency in the Amazon rainforest. Andrea is a founding member of the New York Society for Acoustic Ecology and a current member of the Bay Area Sound Ecology. www.listeninglistening.com Jennifer Wilsey performs, composes, and teaches music with a focus on improvisation, polyrhythm, and Deep Listening® practices. In addition to being active as a concert percussionist, she has performed internationally with diverse artists and ensembles, including Timeless Pulse (with Thomas Buckner, Pauline Oliveros, George Marsh, and David Wessel), The Bloom Trio (with Allaudin Mathieu and George Marsh), The Good Sound Band (Loren Rush, Janis Mattox, et al), and Petr Kotik and the S.E.M. Ensemble among many others. Jennifer’s recordings can be heard on the Deep Listening, Mutable, Taiga, and Pitch-A-Tent labels. As an educator, Jennifer teaches percussion, percussion pedagogy, and directs the Improvisation and Percussion Ensembles at Sonoma State University. She also maintains a private studio, offering creative music lessons for children and adults in Santa Rosa, California
Tower Ring is co-sponsored by Mills College and Stanford University. Thank you to David Bernstein, Ann Hamilton, Steven Oliver, Dave Marshall, Amy Cullen and the staff of Oliver Ranch, Thr Rt. Reverend Loreon Vigné and the staff at Isis Oasis, Anne Trueblood Brodzky and Anthony Williams of the Meridian Gallery, staff and board of Deep Listening Institute, Zazzle, Linda Schockley, Jo Andres, Zildjian Cymbals and Gongs and Vic Firth Sticks and Mallets and our silver ring holders - John DeDominic and Chandra Severson.