The Center For Deep Listening

CICATRICES, by Rémy Bélanger de Beauport

I wrote this piece in 2017, when the only scar I could think of on my body was from an old piecing that didn’t heal well. Now a couple of years later the piece acquires new meaning—a new sound—as my skin heals the many scars left by an unexpected sword attack. This is a revised version.

Free-improv cellist and composer Rémy Bélanger de Beauport is currently based in Québec City, Canada where he directs the local improvisers’ orchestra EMIQ. He plays solo, duo, trio up to large ensemble and is a frequent collaborator of dance, poetry and visual arts. He graduated in composition, music theory and mathematics and plays Canada, Germany, Mexico and France. His approach is based on the body, intuition and interaction, sound textures and an intense focus on unfolding structures.

TENDRE ORGIE MUSICALE, by Léo Azzaria

Sound artist from Québec City, Léo Azzaria works on electronic live performance and new perspectives for live music.

DOING AND UNDERGOING, by FRED EVERETT MAUS

Lex Garcia’s peers have likened her solo works to “transmissions from the universe.” Because of her freedom from formal music education, she creates intuitively and experimentally, using texture, space, color, and movement to produce layered and expressive soundscapes. Perhaps due to their visual art background, Lex’s work lends itself to the moving image – it is the intersection of audio and visual art that most intrigues them. No matter the medium, she strives to express the most visceral parts of her subconscious – that which transcend verbal language – with sound and image, hopefully to access that innermost place within others. Lex sings with Portland State’s University Choir and composes and performs with PSU’s Sonic Arts & Music Production Laptop Ensemble (SAMPLE). With SAMPLE, Lex has explored graphic and text scores, computer-mediated improvisation, sound synthesis, and live film scoring under the direction of Christi Denton and in collaboration with the PSU School of Film..

DISTANCE, by Alyce Santoro

From “7 PLACE EXPLORATIONS,” a set of scores consisting of 7 separate site-/occasion-specific explorations that can be performed solo or in a group, using voice or any instrumentation. See all 7 scores here: https://www.alycesantoro.com/sound-visual/text-visual-scores/7-place-explorations.

Alyce Santoro is a sound and visual artist with a background in biology and scientific illustration. Her field recordings, invented frameworks for improvised music, collages (both sonic and visual), drawings, and writings are artifacts of ongoing phenomenological explorations. She is particularly interested in practices that can challenge notions of objectivity and serve to illuminate the dynamic/dialectic between the looker and the seen, the listener and the heard—is the observer ever truly separate from that which is being observed?

PEN PALS, by Alexis C. Lamb

Alexis C. Lamb is a composer, percussionist, and educator interested in fostering communities of mindful music-making. Her recent commissions and collaborations include Third Coast Percussion, the Albany (NY) Symphony, Aizuri Quartet, Opera Omaha, Contemporaneous, and Yale Philharmonia. She is currently pursuing a Doctorate of Musical Arts at the University of Michigan and has previously earned degrees from the Yale School of Music and Northern Illinois University. Her works are self-published and available at https://alexislamb.com/.

DOING AND UNDERGOING, by FRED EVERETT MAUS

Musician, teacher, and writer, certified teacher of Deep Listening and Mindfulness Meditation. Co-editor, The Oxford Handbook of Music and Queerness. I may be reached at fredmva@gmail.com.

YEEAHW x 9, by TOMIE HAHN

Backstory: Many of us have fond memories of Pauline’s exuberant “Yeehaw!” exclamations. Often these whoops were shouted out with a lively leap into the air as part of a group Sonic Meditation. She modeled these outbursts of euphoria and we were swayed. Here’s a chance to give back, to practice nine variations for her 90th—starting with a contemplative call, then moving on to more ecstatic ones.

Tomie Hahn is an artist and ethnomusicologist who has devoted her life to the understanding of embodied cultural knowledge. Tomie’s research spans a wide range of area studies and topics including Japanese performance, Monster Truck rallies, improvisation, transmission, the senses, embodiment, dance, and contemplative practices. Her books include Arousing Sense: Recipes for Workshopping Sensory Experience and Sensational Knowledge: Embodying Culture through Japanese Dance. She is Professor emerita in the Arts Department at RPI, where she erved as the Director of the Center for Deep Listening.

I AM LISTENING, by Alexis Porfiriadis

A text score for collective improvisation.

Alexis Porfiriadis holds a PhD in Composition at Bath Spa University/UK, and master’s degree and postgraduate diploma in Composition at the University for Music and Performing Arts Graz/Austria. Since 2008 his compositions consist mainly of verbal/graphic open form scores or combinations of conventional notation with verbal and/or graphic notation. Selected prizes and awards: 1st Prize in the Franco Evangelisti International Composition Competition 2020, 3d Prize in the Second International Composition Competition for String Quartet by Molinari Quartet 2005, State grand for Composition of the Republic of Austria 2003-04.

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PAULINE IS NOT GONE, by Eric Lewis

Eric Lewis is an improvisor, community activist, and a professor of Philosophy at McGill University. He is the President of AIM (Arts in the Margins), and had the pleasure of working with Pauline on the AUMI project, and in assorted musical ensembles. He still listens for, and to, Pauline, and has been visited by her in the most unexpected, but expected, moments….

PAULINE, PAULINE, OH PAULINE WHERE ARE YOU?????, by Linda Mary MontaNO

Originally trained as a sculptor, Linda Montano began using video in the 1970s.  Attempting to obliterate the distinction between art and life, Montano’s artwork is starkly autobiographical and often concerned with personal and spiritual discipline. She spent two years in a convent and studied Yoga and Zen. In 1983, Montano and artist Tehching Hsieh were literally tied together for one year in a living performance. Her avowed interest lies in “learning how to live better through life-like artworks,” with personal growth evolving out of shared experience, role adoption, and ritual. Currently she explores the ARTLIFE of CREATIVE AGING.

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