The Center For Deep Listening

Day 325 of A Year of Deep Listening



From the series “Text Scores for Getting to Know Invertebrates”

Lisa Schonberg is a composer and percussionist creating sound works based on ecological research. Informed by her background in entomology, she is interested how sound work can reveal and challenge assumptions about insect sound-worlds and insect agency. She has been collaborating with Brazilian entomologists on ATTA (Amplifying the Tropical Ants), a project investigating ant bioacoustics in the Amazon. Other recent work includes work on old-growth forests in Oregon and endangered Hawaiian bees. She is pursuing her PhD in Electronic Arts at Rensselaer Polytechnic Institute.


Day 324 of A Year of Deep Listening


CHROMA by Elizabeth Mcnutt

This is a practice I often do myself, and invite others to join in. It implies synesthesia, but does not require it. Working with Pauline Oliveros in 2010 and with Gerhard Stäbler and Kunzu Shim in 2018 transformed the way I cognize not only my practice of music but life more generally. This score is an expression of my gratitude.

Elizabeth McNutt, flutist, primarily performs contemporary and electroacoustic music. She has premiered countless works and performed in Europe, Asia, and throughout the U.S. Her awards include Arts International Fund, Astral Career Grant, Open Meadows, and Rocky Mountain Women’s Institute Fellowship. She frequently performs in the Calliope Duo and the feminist improvisation group Bitches Set Traps; she also directs the Sounds Modern series in Fort Worth. McNutt (DMA, UCSD) is on the faculty of the University of North Texas, where she teaches flute and directs the new music ensemble Nova.

Day 322 of A Year of Deep Listening

¿Qué pasaría si… / What would happen if…, by Ana Maria Romano G

Nota: Se invita a que el grupo sea muy diverso (intergeneracional, sexo, género, profesión, nacionalidad, neurodivergencia, origen étnico y social, etc.). Las fuentes sonoras pueden ser la voz, el cuerpo y/o un objeto, o un instrumento musical, con el que cada persona tenga un vínculo afectivo. Las acciones pueden hacerse en cualquier orden y escogiendo las que sean de interés entre les participantes, abriendo espacios de diálogo y construcción colectiva. La temporalidad se construye en tiempo real y en resonancia grupal. Las acciones pueden hacerse en parejas, tríos, grupo completo, etc.

Agradezco a Ximena Alarcón por la traducción. Además de llevar la partitura al inglés, durante el cálido proceso de la traducción tuve oportunidad de darme cuenta de la necesidad de hacer modificaciones en la versión en español que, sin duda, la enriquecieron

Note: The group is invited to be diverse (intergenerational, sex, gender, profession, nationality, neurodivergence, social and ethnic backgrounds etc.). The sound sources can be the voice, the body and/or an object with which each person has an affective bond (you might include conventional musical instruments too). Actions can be followed in any order and choosing those that are of interest among the participants, opening spaces for dialogue and collective construction. Temporality is constructed in real-time and in group resonance; actions might involve different groupings: couples, trios, the full group, etc.

I want to thank Ximena Alarcón for the translation. In addition to bringing the score into English, during the warm process of the translation I had the opportunity to realize the need to make changes to the Spanish version that, without a doubt, enriched it.

Ana María Romano Gómez is Colombian composer/interdisciplinary sound artist. Her creative interests stem in the intersection of gender, sound, technology and the political dimension of the creative. Her artistic works have been published in physical support and by several netlabels and have been featured in festivals in Latin America, Europe, North America and Asia. She has been working on the legacy of composer Jacqueline Nova and she is currently developing an investigation around the women protagonists of Latin American electronic music. She teaches at Universidad El Bosque and directs Festival En Tiempo Real.

Day 321 of A Year of Deep Listening

I KNOW YOU KNOW, by Alon Nechushtan

A tribute to ‘my favorite song’ by Pauline Oliveros, with an interesting twist.

“A talent to watch, with a surfeit of ideas, an unbridled spirit and bold, two-fisted sense of Architecture” (‘Down-Beat’) Alon has written chamber, orchestral, electronic & multi disciplinary pieces. His style incorporates elements of improvisation, serialism, heterophony, minimalism, folk & rock elements.  Alon’s music adventures brought him to the Yokohama Festival Japan with his contemporary compositions, The Sao-Paolo Brazil Music Festival with his Quintet Talat, Manila withhis concerto for the Philippine Symphony Orchestra and The Tel Aviv Biennale with his Large Ensemble.

Day 320 of A Year of Deep Listening

CONNECTING CHORDS, by Herine Coetzee Koschak

An avid conversationalist, cellist Herine Coetzee Koschak is on a lifelong quest to engage in meaningful and personal exchanges through music. Herine is a founding member of Fifth House Ensemble and is regularly heard on local and national radio stations and concert stages, as well as on the Cedille record label.

Day 319 of A Year of Deep Listening

DRIFTWOOD & SEASTONE, by Matt Hannafin

Matt Hannafin is a New York–born, Portland-based percussionist active in experimental music, improvisation, and Iranian classical and traditional music. His teachers have included composer La Monte Young, Indian master singer Pandit Pran Nath, Persian tombak virtuoso Pejman Hadadi, tar and tombak master Kavous Shirzadian, and percussionists Jamey Haddad and Glen Velez. He is the artistic director of Extradition, a Portland-based ensemble and concert series (

Day 318 of A Year of Deep Listening

RAINDROPS, by Ayako Kataoka

Ayako Kataoka studied with Pauline Oliveros at Mills College, where she received her MFA in Electronic Music in 2008. Her areas of interest include: Sound Art, Japanese Spatial Concepts, Architectural Acoustics, and Movement and Music Improvisation. She has shared her work at venues such as: SF International Arts Festival, The Stone (NY), Museion (Bolzano), Tokyo International Dance Film Festival, High Zero (Baltimore), Sound Forms (Copenhagen), and Ftarri (Tokyo). She was one of the four oscillator players for Pauline’s Red Shifts, presented at the Festival of New American Music in 2007.

Day 316 of A Year of Deep Listening

SWALLOW, by Jayla Tang

Jayla aims to elevate issues & amplify voices through varied means of art. You can find them on the regular wandering through cultural institutions, sifting through colors & papers, or immersed in sound making / listening practices. From air-waving on the podium, to typewriting in lavender & mint, or plucking strings with painted nails, they seek to make a statement against the status quo. Jayla received training through California Institute of the Arts, where they were encouraged to wield genre-bending art in hopes of galvanizing future generations…to confuse, nuance, & liberate!