Difference between revisions of "Pauline Oliveros (Q31733)"
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pioneer of electronic music
(Created a new Item: Pauline Oliveros, pioneer of electronic music) | (Removed claim: Instance of (P1): Women and technology (Theme) (Q31714), #quickstatements; #temporary_batch_1694073319027) | ||||||||||||||
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| Property / Wikidata source: Q444857 / rank | |||||||||||||||
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| + | 30 May 1932
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| + | 25 November 2016
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| + | Composer and accordionist Pauline Oliveros (30 May 1932 - November 24, 2016) began exploring tape and electronic music techniques in the late 50s. A founding member and central figure of the influential San Francisco Tape Music Centre with Ramon Sender and Morton Subotnick, her compositions introduced meditative and ritualistic practices while exploring deep, existential ideas. Gender inequality would be a theme that she addressed tenaciously. An essay she wrote for the NY Times in 1970 started with a provocative question – “Why have there been no ‘great’ women composers?” Lifting the veil on gender bias and societal expectations of domestic compliance, she worked as she says “To create an atmosphere of opening for all to be heard, with the understanding that listening is healing.” (English) | ||||||||||||||
| Property / context: Composer and accordionist Pauline Oliveros (30 May 1932 - November 24, 2016) began exploring tape and electronic music techniques in the late 50s. A founding member and central figure of the influential San Francisco Tape Music Centre with Ramon Sender and Morton Subotnick, her compositions introduced meditative and ritualistic practices while exploring deep, existential ideas. Gender inequality would be a theme that she addressed tenaciously. An essay she wrote for the NY Times in 1970 started with a provocative question – “Why have there been no ‘great’ women composers?” Lifting the veil on gender bias and societal expectations of domestic compliance, she worked as she says “To create an atmosphere of opening for all to be heard, with the understanding that listening is healing.” (English) / rank | |||||||||||||||
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| Property / context: Composer and accordionist Pauline Oliveros (30 May 1932 - November 24, 2016) began exploring tape and electronic music techniques in the late 50s. A founding member and central figure of the influential San Francisco Tape Music Centre with Ramon Sender and Morton Subotnick, her compositions introduced meditative and ritualistic practices while exploring deep, existential ideas. Gender inequality would be a theme that she addressed tenaciously. An essay she wrote for the NY Times in 1970 started with a provocative question – “Why have there been no ‘great’ women composers?” Lifting the veil on gender bias and societal expectations of domestic compliance, she worked as she says “To create an atmosphere of opening for all to be heard, with the understanding that listening is healing.” (English) / qualifier | |||||||||||||||
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Latest revision as of 07:55, 7 September 2023
pioneer of electronic music
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Pauline Oliveros | pioneer of electronic music |
Statements
30 May 1932
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25 November 2016
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Composer and accordionist Pauline Oliveros (30 May 1932 - November 24, 2016) began exploring tape and electronic music techniques in the late 50s. A founding member and central figure of the influential San Francisco Tape Music Centre with Ramon Sender and Morton Subotnick, her compositions introduced meditative and ritualistic practices while exploring deep, existential ideas. Gender inequality would be a theme that she addressed tenaciously. An essay she wrote for the NY Times in 1970 started with a provocative question – “Why have there been no ‘great’ women composers?” Lifting the veil on gender bias and societal expectations of domestic compliance, she worked as she says “To create an atmosphere of opening for all to be heard, with the understanding that listening is healing.” (English)
0 references