The Center For Deep Listening

A Year of Deep Listening

A Year of Deep Listening is a 365-day celebration of the legacy of Pauline Oliveros, and what would have been her 90th birthday. The Center for Deep Listening at Rensselaer is publishing one text score per day—online and across social media platforms—beginning on Oliveros’ 90th birthday: May 30, 2022.

The scores have been offered by the community of listeners who have been touched by the philosophy and practice of Deep Listening. In addition to marking and celebrating Oliveros’ 90th birthday, this project is an attempt to explore what listening can make possible in the context of our current moment…

We are all ears!

Follow the project below, or on Facebook, Twitter, and Instagram.

Day 33 of A Year of Deep Listening

Paper Song For Pauline’S 90TH, BY TOMIE HAHN

Tomie Hahn is an artist and ethnomusicologist. She is Professor emerita in the Arts Department at Rensselaer, where she served as the Director of the Center for Deep Listening. She is currently President of the Society for Ethnomusicology. Her books include Arousing Sense: Recipes for Workshopping Sensory Experience, University of Illinois Press and Sensational Knowledge: Embodying Culture through Japanese Dance, Wesleyan University Press (awarded the Alan P. Merriam prize, Society for Ethnomusicology).

Day 32 of A Year of Deep Listening


My name is Ioanna Valsamara. I am currently living in Thessaloniki, Greece. I am a physics graduate and have completed my studies with a masters degree in computer science. I play the piano and I am an active member of the 6daEXIt Improvisation ensemble. I like music improvising and writing, especially experimental.

Day 31 of A Year of Deep Listening


Nikki Krumwiede is a composer currently residing in Moore, Oklahoma. She is currently working toward a DMA from the University of Oklahoma where she directed the New Century improv! Ensemble. Nikki’s strives to create music that engages performers and allows flexibility and interpretation. Much of her music draws upon her experience as an improv performer and asks musicians to create through improvisation. She consciously attempts to incorporate various musical genres, as well as her background in writing and literature, into her compositional process in a way that engages a diverse audience.

Day 30 of A Year of Deep Listening


“When the cloud is no longer in the sky, it doesn’t mean the cloud has died. The cloud is continued in other forms like rain or snow or ice. So you can recognize your cloud in her new forms.”

—Thich Nhat Hanh

I listen, co(create) soundscape and therapeutic music, facilitate Deep Listening and meditation experiences. My favorite sound is silence which contains nothing and everything in one expansive instant.

Day 29 of A Year of Deep Listening



For any number of readers (large groups encouraged). For any duration (long durations encouraged). In public performances, the audience can be invited to participate by providing copies of the score and a menu of “beautiful sentences” from which to choose. The constellation of the performers presents another opportunity for creativity. If performed in a large space, readers can walk about while performing. Individual members of each call and response ensemble can space out as much as they like so long as they can still relate to each other.  Variation: with musical drone as accompaniment. 

Seth Dellinger is a life-long experimentalist, speaker of tongues, Feldenkrais practitioner, and creator of the Musicality of Being workshops.

Day 28 of A Year of Deep Listening



‘Laugh Piece’ is a simple thing to do in pairs. It is about silliness in doing things very seriously, and about the laughter that is brought on by the laughter of others. 

I am a composer and guitarist currently working in Leeds and London. My scores and music are mostly concerned with ways of playing together and the ways that we ask things of each other. Realisations of my scores vary greatly and are informed as much by the personalities of those who play them as by anything I have written, but they do tend to be quiet and slow (the sounds I make when improvising or interpreting scores by others are generally similar, sometimes louder).

Day 27 of A Day of Deep Listening



Emily Robinson is an printmaker, musician, and organizer currently living in Richmond, Virginia. A Deep Listening certificate holder originally from East Tennessee, she is interested in merging Deep Listening principles with Appalachian folkways and exploring their utility in trauma healing.

Day 26 of A Year of Deep Listening



The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the Banda Municipal de Bilbao at the Euskalduna Palace in Bilbao, The New Juilliard Ensemble at the Museum of Modern Art in New York, and many other artists and ensembles internationally. His fixed media audio and visual works have been performed at the Musinfo Journées Art & Science Festival in Bourges, the Festival Exhibitronic in Strasbourg, the Festival Internacional de Video Arte y Música Visual in Mexico City, and Echofluxx in Prague.

Day 24 of A Year of Deep Listening


STONE MILL, by Tim feeney

Tim Feeney performs, composes, improvises, and builds sensory environments in forests and grain silos, concerned with unstable sound and duration. He appears in bookstores and basements with Sarah Hennies and Greg Stuart as Meridian; in galleries and libraries with Vic Rawlings and Annie Lewandowski; in tunnels and train stops with Cody Putman and Cassia Streb as Tasting Menu; in colleges and museums with Holland Hopson and Jane Cassidy; and in the occasional festival or concert hall with Anthony Braxton and Ingrid Laubrock. He is a faculty member at the California Institute of the Arts.