The Center For Deep Listening

Day 247 of A Year of Deep Listening


THREE-LAYER SCORE, by Elizandro Garcia-Montoya

Elizandro Garcia-Montoya is an active performer and educator who has performed with the Cleveland Orchestra, Sarasota Opera, Houston Grand Opera, Jacksonville Symphony, and was Principal Clarinet of the State of Mexico Orchestra in Toluca, Mexico. A silver prizewinner in the 1999 Fischoff National Chamber Music Competition, Elizandro continues to pursue his chamber music career and performs regularly with Fifth House Ensemble, the Chicago Ensemble and Midsummer’s Chamber Music Festival.

Day 246 of A Year of Deep Listening


MEET ME IN LISTENING, by Elizabeth Ellis & Helena Krobath

Meet Me in Listening is an excerpt from a project of the same name, created by Elizabeth Ellis and Helena Krobath. The artists experimented with ways of sharing listening, recursively soundwalking and debriefing on a chosen route together over a period of time. The resulting text invites listeners to imagine their connectedness by way of sound. Each movement is open-ended and benefits from experimenting and repetition. The text was also the basis of an interactive public soundwalk in 2018 (presented by Vancouver New Music and Vancouver Soundwalk Collective).

Elizabeth Ellis is an artist, graphic designer, and arts organizer. Her practice stems from multi-sensory readings of her surrounding ecologies and their conditions (garden, colour, weather, and fermentation) to explore expansive modes of communication. She is interested in the poetics of listening, and listening with others. // Helena Krobath is intrigued by imaginary spaces, narrative formations, infrastructures, and sensory tuning. Helena has led many soundwalks with Vancouver Soundwalk Collective; created community audio mentorship programs; and presented electroacoustic fictions/radio art.

Day 245 of A Year of Deep Listening


MIMIC, COLLECT, EXPRESS, by Angela Dittmar

Mimic, Collect, Express is a scaffolded experience in new languages using the environment, body, and sound. The beginner might try this in a sitting position. And might use their hand as the expressive body part. Notes on a movement: This is a visual prompt for movement, which might be suggested by a line, plane, or form within one’s gaze. It might also be something moving in real time that has caught your gaze.

Angela Dittmar examines the cross-sections of desire, instincts, and interpretation as related to shaping and responding to our lived experiences. She refers to her research as “Me and the Gazelle.” Landmarks in her training and artist career have been graduating with honors in the Master of Fine Arts program at Hunter College, City University of New York, and Bachelor of Fine Art in Painting and Drawing at UTC; having work shown in MassMoca and Hunter Museum of American Art; and resident at Easy Lemon.

Day 244 of A Year of Deep Listening


SCORES FOR LISTENING #5, by Iris Garrelfs

Iris Garrelfs is an artist working on the cusp of music, art and sociology. Her practice includes fixed media, installation, improvised performance and has been included in major institutions worldwide, for example Tate Britain, National Gallery, Barbican, Onassis Centre Athens, Visiones Sonores Mexico, Gaudeamus Amsterdam, MC Gallery New York. Elsewhere she is the commissioning editor of the online journal Reflections on Process in Sound and the co-curator and director of Sprawl, a London based experimental music organisation. Iris has a PhD in Sound Art from University of the Arts London and is senior Lecturer in Sonic Art at Goldsmiths, University of London.

Day 243 of A Year of Deep Listening


EARTH ORGAN, by Stephen Shiell

This score was originally created for people with organ pipes, and the recording of its first performance in a beech woodland in Wiltshire, UK, was used on my album ‘Sonance’, released on Linear Obsessional in 2019. It has been re-worked here for voice and can be performed solo or in a group.

I’m a sound artist, performer and composer. I work with field recordings, found objects and self created instruments. I enjoy the confluence of sound and matter to describe my memories of place. I like working with ‘hidden’ sounds, using very low frequency receivers, electromagnetic microphones, contact mics and hydrophones to explore the sounds outside of human hearing. I am a certified as a facilitator with the Centre for Deep Listening. I now regularly share the practice through workshops in person and online.

Day 242 of A Year of Deep Listening


DUO FOR OBOE AND WHIPPET, by Emily Doolittle and Idris Donut

Of course there is something humorous about the idea of a “Duo for Oboe and Whippet”, but I have genuinely been enjoying duetting with my dog. Interaction and response are such key parts of music-making for me, and during the pandemic when it has been so hard to find safe opportunities for in-person music-making, I’ve particularly enjoyed finding this opportunity for sonic exchange with a member of another species, at home. This piece can be transcribed for any instrument or voice, and any dog, but I titled the score as I did to share the specificity of my own experience.

You can hear a performance of this piece (in trio version), here:

Emily Doolittle is a Canadian-born, Scotland-based composer and researcher, with a longterm interest in the relationship between animal songs and human music.

Day 241 of A Year of Deep Listening


WHEN A DOG HEARS, by Alex Goodall

When a dog hears, she mocks us. Think of everything she knows that we don’t!

Student in final year of Sound Arts & Design at LCC. I work mostly with field recordings, spoken word and vocal manipulation to attempt to decode my relationships with people and with my surroundings through sound.

Day 240 of A Year of Deep Listening


BONE CYCLES, by Michael Morris

Michael J. Morris is an artist, dramaturg, writer, educator, facilitator, and founder of Co Witchcraft Offerings through which they offer astrology and tarot readings, movement-based rituals, and workshops to support people pursuing personal and collective healing and liberation. They hold a PhD in Dance Studies from The Ohio State University. Their writing has been published in The Oxford Handbook of Dance and Theater, Choreographic Practices, TDR, Dance Chronicle, the European Journal of Ecopsychology, LEUR, UnBound Zine, and Arcade: Literature, the Humanities & the World.

Day 239 of A Year of Deep Listening



Parker Nelson is redefining the limits of what the horn can do with innovative programs that include his own original arrangements, transcriptions, techniques, commissions, and new context for standard practices and repertoire. As a soloist, chamber musician, orchestral musician, and educator, Parker actively works with communities both home and abroad to continually expand the cultural, educational, and artistic reach of the 21st century horn player.

Day 238 of A Year of Deep Listening



Graham Sefton is a UK-based musician, artist and poet, who has been quietly repurposing found sounds and visuals under the name Detritus Plates since the nineties. His 2019 cassette tape on Sensory Leakage is amongst the “culturally significant artefacts” featured in Iain Forsyth and Jane Pollard’s ongoing exhibition at London’s Somerset House, THE HORROR SHOW! (27th October, 2022 – 19th February, 2023). His collage works can be found at: