Pauline Oliveros Papers, 1931-1981 (MSS 102)

Restrictions: Original media formats are restricted. Viewing/listening copies may be available for researchers.

Extent: 20.4 Linear feet (31 archives boxes, 7 flat boxes, 2 map case folders, and 2 card file boxes)

Digital Content

Most of the Pauline Oliveros Papers have been digitized, with the exception of oversize (material with "FB" or "MC" container designations) and some published content. Many folders in the collection, such as writings and correspondence, may be viewed without restriction by clicking directly on the blue title links. Musical works and compositions, and related materials in shared folders with musical works and compositions, may only be viewed by registered users through the Library's Virtual Reading Room service. Please request all musical works directly from the finding aid for access facilitated through the Library's virtual reading room service.

Papers of Pauline Oliveros (1932-2016), American experimental musician, composer and key figure in the development of contemporary electronic music. The collection contains Oliveros' original writings, compositions, correspondence and sketches. Also included are interviews, programs and reviews, teaching materials and writings about and relating to Oliveros' work.

Pauline Oliveros was born in Houston, Texas in 1932. An accomplished accordionist, composer and teacher, she is an instrumental figure in the world of electronic music. Oliveros was a founding member of the San Francisco Tape Music Center, a resource for electronic music in the 1960s. Later, the Center moved to Mills College and became the Center for Contemporary Music where Oliveros was the Center's first director.

Oliveros' teaching career spans several decades. She left Mills College in 1967 when she accepted a faculty position at the University of California, San Diego. From 1976-1979 Oliveros served as the director of the Center for Music Experiment (CME), later renamed The Center for Research in Computing and the Arts (CRCA) at UCSD.

In 1981 she moved to upstate New York to work as an independent composer and performer. She then became the Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, in Troy, New York and the Darius Milhaud Artist-in-Residence at Mills College.

Oliveros is the founder of The Deep Listening Institute, formerly the Pauline Oliveros Foundation. In 1991 she coined the term "Deep Listening". The Institute explains Deep Listening philosophy , stating that it "distinguishes the difference between the involuntary nature of hearing and the voluntary selective nature of listening. The result of the practice cultivates appreciation of sounds on a heightened level, expanding the potential for connection and interaction with one's environment, technology and performance with others in music and related arts." Out of this philosophy, Oliveros formed the Deep Listening Band with fellow musicians David Gamper and Stuart Dempster.

Oliveros has been a great influence on American electronic and experimental music. In 2009, she won the William Schuman Award for lifetime achievement from Columbia University and in 2010, a retrospective of her work from 1960 to 2010 was performed in honor of the award.

On March 19th, 2012, Oliveros became the recipient of the John Cage Award from the Foundation of Contemporary Arts. Also in 2012, Pauline Oliveros celebrated her 80th birthday with year long celebration performances, Deep Listening activities and residencies.

Some of her notable works include Sonic Meditations, Sound Patterns, and Theater of Substitution series. She has also written several books on music theory and electronic music including Sounds the Margins: Collected Writings 1992-2009, Deep Listening: A Composer's Sound Practice, Roots of the Moment, Software for People: Collected Writings 1963-80. Oliveros died November 24, 2016 in Kingston, New York.

Papers of Pauline Oliveros, composer, accordionist and former music professor at UCSD. Materials include correspondence, works and writings by Pauline Oliveros and others, manuscripts of Oliveros' compositions, subject files, reel-to-reel audio tapes and ephemera. These materials were originally located at UCSD's Music Library.


Pauline Oliveros Papers, Mills College.

Container List


Scope and Content of Series

Series 1) WORKS BY PAULINE OLIVEROS: Arranged in two subseries: A) Compositions and B) Sketches.

A) Compositions: Oliveros' catalog of musical compositions from 1951-1980, manuscript scores, drafts, sketches and related programs, correspondence and photographs. Notable works include Sonic Meditations, Sound Patterns, and Theater of Substitution series.

B) Sketches: Interpretive artwork and composition notes from 1957-1960. Some unidentified and oversized sketches are also included.


Box 1 Folder 1-3

Aranged in approximate alphabetical order, A-Z. Includes details of instrumentation, programs and ephemera, first and subsequent performances, commissions, etc.

Box 1 Folder 4
Aok. Includes manuscript score, draft, sketches, and correspondence, 1969
Box 1 Folder 5
Accordion. Includes diagram and tentative program, 1966
Oversize FB-402 Folder 01
Adagio for woodwinds. For flute, oboe, clarinet, horn, and bassoon. Includes holograph score in multiple drafts, 1957

Aeolian Partitions

Box 1 Folder 7
For flute, clarinet, violin, cello, and piano. Published score (1970), 1969
Box 1 Folder 8
Includes manuscript score, draft and publication materials, slide, programs, and correspondence , 1969
Box 1 Folder 9
Anarchy Waltz. Includes manuscript score, annotated photocopy, programs, and review, 1980
Box 1 Folder 10
Angels and Demons. Includes manuscript score, mimeograph and programs, 1980
Box 1 Folder 11
Apple Box Orchestra. Sketch, undated
Box 1 Folder 12
Arrangement. By Douglas Leedy, with further arrangements by Pauline Oliveros and Roger Davis. Includes typescript score and program, 1972
Box 1 Folder 13
Art of the Woodcut. Music for the film "The Art of the Woodcut." Includes holograph score, instructions and photograph
Box 1 Folder 14
Autobiography of Lady Steinway. Manuscript score, 1978
Box 1 Folder 15
Bath. Includes holograph score and sketches, 1966
Box 1 Folder 16
Big Mother Meets the Wolfman. Includes a photocopy of letter to Robert Ashley, 1969
Box 1 Folder 17
Bio-Theatre. Includes notes for Mandeville Center opening ceremony, festivals and courses. Also includes correspondence and Trainability of Listening Comprehension of Speed Discourse , 1975
Box 1 Folder 18
Birthday Tune for Laurel. Includes holograph score

Bonn Feier (1977)

Box 1 Folder 19
Includes published score, notes, letters, newspaper clipping, slides, color photocopies of photographs, notebook

Original chromes located in ASC2/M102/006-076 (no 028, 044-048) and two unnumbered sleeves.

Box 1 Folder 20
Clippings and award
Box 1 Folder 21
Super 8 film
Box 1 Folder 22
Bye Bye Butterfly. Includes program and recording contract, 1975

C(s) for Once

Box 1 Folder 23
Drafts, 1966
Box 1 Folder 24
Includes holograph score and published version in Focus on Musicology, with annotations and notes, 1966
Box 1 Folder 25
Cat O Nine Tails. Includes instructions, graph and miscellaneous notes, 1965
Oversize FB-402 Folder 02
Cats. Holograph sketch and text
Box 2 Folder 2
Ceremony of Sounds. For Tamar Read. Includes manuscript score, drafts and correspondence, 1974
Box 2 Folder 4
Chronicles of Hell. Music for the San Francisco Mime Troupe. Includes scripts and partial holograph score, 1965
Box 2 Folder 5
Circuitry. Includes holograph score and notes, 1967
Box 2 Folder 6
Cock-A-Doodle Dandy. Music for the Actor's Workshop Production of Sean O'Casey's "Cock-A-Doodle Dandy," directed by Herbert Blau. Includes holograph score, drafts and program, 1959
Box 2 Folder 7
Concert Piece for Accordion. Holograph score, 1956


Box 2 Folder 9
Includes photocopy of score and notes, 1974
Box 2 Folder 10
Photographs by Ellen van Fleet. Includes correspondence, 1975
Box 2 Folder 11
Reviews. Includes correspondence, 1974 - 1975

Crow Two

Box 2 Folder 12
Includes correspondence, draft, manuscript score, and annotated typescripts, 1975
Box 2 Folder 13
Includes typescripts and transcription of Oliveros' talk at the Ethnopoetics Symposium. Also includes correspondence, 1975
Box 2 Folder 14
Dialogue with Basho. Includes manuscript score, typescript and correspondence, 1972
Box 2 Folder 15
Double Basses at Twenty Paces - Multiple drafts of the score, 1968
Box 2 Folder 16-17
Double Basses at Twenty Paces - Revisions and correspondence, 1973
Box 2 Folder 18
Double X. Includes manuscript score and notes, 1979

Duo for Accordion and Bandoneon, with possible Mynah Bird Obliggato

Box 2 Folder 19
Holograph score
Box 2 Folder 20
See Saw Version. Sketches, 1964
Oversize FB-402 Folder 03
See Saw Version. Holograph score, 1964
Box 2 Folder 22
Duo for Pianist and Pedal Pusher. Includes draft of score and sketches, 1964
Box 2 Folder 23
Dying Alchemist. Includes correspondence, source material and drafts. Text by N. P. Willis, 1968 - 1974
Box 3 Folder 1
Eighteen Accordion Pieces for Children. Holograph score, 1957
Box 3 Folder 2-3
El Relicario de los Animales, 1979

Includes drafts of score, instructions, program and miscellaneous correspondence.

Box 3 Folder 4
El Relicario de los Animales - Photographs, 1979
Box 3 Folder 5
Electronic Mantra - Experiments in Art and Technology (EAT). Includes articles published in Techne , 1970
Box 3 Folder 6
Electronic Mantra - Notes. Includes diagrams, 1970
Oversize FB-402 Folder 04
Electronic Mantra - Pavilion, Expo '70. Osaka, Japan. Plans in Japanese, 1970
Box 3 Folder 8
Electronic Mantra - Pepsi-Cola Pavilion. Press kit, 1970
Box 3 Folder 9
Elephant Call. Ritual for Trumpeter Jack Logan. Includes manuscript score, draft and correspondence, 1975
Box 3 Folder 10
Engineer's Delight for Piccolo and Seven Conductors. Includes diagram and tentative program, 1966

Essay for Piano

Oversize FB-402 Folder 05
Holograph score, 1955
Oversize FB-402 Folder 06
Ozalid print
Box 3 Folder 13
Evidence for Competing Bimolecular and Termolecular Mechanisms in the Hydrochlorination of Cyclohexene. Includes diagram, photocopies and excerpt from article with the same title
Box 3 Folder 14
Exception and the Rule. Holograph score
Box 3 Folder 15
Festival House. For orchestra, chorus, mimes, and lights. Includes manuscript score and program notes, 1968
Oversize FB-402 Folder 07
Few Phrases for Accordion, Trumpet and String Bass. Holograph sketch
Box 3 Folder 17
Five for Trumpet and Dancer. Includes holograph score and slides, 1964
Oversize FB-402 Folder 08
For Budding Hall-O Ween Peace. Holograph score included in Harold Budd's portfolio, "California 99"
Box 3 Folder 19
Four-H Leader. Includes holographs, source materials, license, and notes, 1958
Box 3 Folder 20
French Horn - Minor Scale and Mixed Mode Studies. Includes mimeographs and notes. Also includes Ear-Training In Absolute Intervals for Music A, 1951
Oversize FB-402 Folder 09
French Horn - Music notebook. Includes holograph scores related to the French Horn Interval Studies
Box 3 Folder 22
French Horn Etudes. Includes mimeograph and holograph scores
Box 3 Folder 23
French Horn Interval Studies. Includes mimeographs
Box 3 Folder 24
Fugue for Piano, 1954 August 27
Oversize FB-402 Folder 10
Fugue in A Minor. Holograph score, 1951
Box 3 Folder 25
Fwyynghn: A Stage Piece with Music and a Ballet Dance. Collaboration with Gordon Mumma, Christian Sinding, Louise Frazer, Beatrice Manley, and others. Includes scripts and drafts, 1979 - 1980
Box 3 Folder 26
Fwyynghn: Lament for a Princess Enchanted into Death. Includes holograph sketch and score, 1980
Box 4 Folder 1
Genuine Cheap Commission. Includes instructions and note, 1981
Box 4 Folder 2
George Washington Slept Here. Includes sketch and correspondence, 1965
Box 4 Folder 3
George Washington Slept Here Too. Includes manuscript score and photocopy. Published in Soundings I, 1972, 1965
Box 4 Folder 4
Hallo. With Anthony Martin. Includes annotated scores and drafts
Box 4 Folder 5
I Heard a Boy Singing Long Long Ago. Includes manuscript, typescript and a photocopy of score. Text by Robert Duncan, 1968
Box 4 Folder 6
In Memoriam, Nikola Tesla, Comic Engineer. Music for the dance Canfield by Merce Cunnigham. Includes drafts, typescript of score and miscellaneous correspondence, 1969
Box 4 Folder 7
Indefinite Integral of Psi Star Psi D Tau Equals One. Includes manuscript score and drafts, 1969
Box 4 Folder 8
I've Got You Under My Skin. For solo percussionist and batman. Collage on strip of paper board
Box 4 Folder 9
Light Piece for David Tudor..., 1974
Box 4 Folder 10
Link. Includes manuscript score, drafts and source materials. Published in Womens Work, 1971
Box 4 Folder 11
Lullaby for Daisy Pauline. Includes manuscript score and correspondence, 1980
Box 4 Folder 12
Lulu: A Semi-operetta. Includes annotated typescripts with holograph scores, 1962
Box 4 Folder 13
Mandala. Includes score, program, notes, and correspondence, 1978

Meditation on the Points of the Compass

Box 4 Folder 14
For David Nott and The Illinois Wesleyan Choir. Includes manuscript score, drafts and correspondence, 1970
Oversize FB-402 Folder 11
Printed score, 1970
Box 4 Folder 16
Box 4 Folder 17
Music for Stacked Deck. Scripts by Dick Higgins. Includes manuscript score and notes, 1973 - 1980
Box 4 Folder 18
Night Jar. Includes typescript of score, drafts and correspondence
Box 4 Folder 19
Oh Ha Ah. For chorus, conductor and two percussions. Includes holograph score
Box 4 Folder 20
One of Four. Includes holograph score by Jim Stone
Box 4 Folder 21
Outline for Septet. Includes draft of score
Box 4 Folder 22
Painting Meditation, 1975
Box 4 Folder 23
Phantom Fathom. Includes score, correspondence, invitation, and guest lists for 1973 performance, 1972
Oversize FB-402 Folder 12
Passages for Harp, Trumpet and Accordion. Includes holograph score and draft
Box 4 Folder 25
Patchwork Girl of Oz, 1981
Box 4 Folder 26
Pathways of the Grandmothers, 1978
Oversize FB-402 Folder 13
Piano Piece. Includes holograph score, 1956
Oversize FB-402 Folder 14
Piano Piece I - III. Three pieces with the same title, plus one additional untitled composition. Includes holograph score, 1951
Oversize FB-402 Folder 15
Piece for Cello and Piano. Includes holograph score, 1951
Box 4 Folder 30-32
Pieces of Eight

Includes masters, prints, drafts, transparancies, and photocopy of score.

Oversize FB-402 Folder 16
Pieces of Eight - Graphic for projection, positive and negative image
Box 5 Folder 1
Pieces of Eight - Revision with manuscript score, 1973
Box 5 Folder 3
Pieces of Eight - Miscellaneous programs, correspondence and notes
Box 5 Folder 4
Pieces of Eight - Photographs, 1965 - 1972
Box 5 Folder 5
Please Be Silent - The Performance Has Begun. Printed score
Box 5 Folder 6
Please Don't Shoot the Piano Player, He is Doing His Best. Includes typed score and annotated drafts

Post Card Theater

Box 5 Folder 7
Notebooks and notes, 1972
Box 32 Folder 1
Postcards, 1972
Oversize FB-402 Folder 17
Prelude and Fugue, for Staring Quartet. Includes holograph score and drafts, 1953 - 1954
Box 5 Folder 9
Prelude and Schuzo. Includes holograph score
Box 5 Folder 10
Program Notes for Tape and Orchestra. Includes manuscript score, 1972
Oversize FB-402 Folder 18
Quartet for Winds. Includes holograph score and draft, 1951
Box 5 Folder 12
A Realization of Compose by Keith Humble, "Are You Really Doing What You Think You Are Doing?"
Box 5 Folder 13
Rock Piece. Includes photocopy of manuscript score, 1979
Box 5 Folder 14
Rock Symphony. Includes outline and sketch, 1965

Rose Moon (1977)

Box 5 Folder 15
Correspondence, 1976 - 1978
Box 5 Folder 16

Includes programs, clippings and biographical information from Sylvia D'Arcangelo and Julia Lebentritt.

Box 5 Folder 17-18
Photographs and contact prints
Box 5 Folder 19
Responses from performances
Box 5 Folder 20
Score and sketches
Box 5 Folder 21
Sag Piece for Blam
Box 6 Folder 1
San Francisco Burning. Includes holograph score and correspondence, 1960
Oversize FB-402 Folder 19
Serenade for Viola and Bassoon, 1957
Box 6 Folder 3
Seven Passages. Includes outlines and notes, 1964
Box 6 Folder 4
Single Stroke Roll Meditation. Includes photocopy of manuscript score
Box 6 Folder 5
Sonata for Flute and Piano. Includes holograph score
Box 6 Folder 6
Song for Horn. Includes holograph score
Oversize FB-402 Folder 20
Song for Horn and Piano. Includes holograph score
Box 6 Folder 8
Sonic Images. Includes manuscript score photocopy, typescript, draft, and responses, 1972

Sonic Meditations

Box 6 Folder 9
Sonic Meditations instructions, 1971
Box 6 Folder 10
Published article on Sonic Meditations
Box 6 Folder 11
Biofeedback - Instructions by Bruce Rittenbach
Box 6 Folder 12-15
Biofeedback - Printouts
Box 6 Folder 16
Photographs, 1978 - 1979
Box 6 Folder 17

Sound Patterns

Box 6 Folder 18
Correspondence, 1962 - 1981
Box 6 Folder 19
Includes draft and published version, 1961
Oversize FB-402 Folder 21
Ozalid print, 1961
Box 6 Folder 21
Oversize FB-402 Folder 22
Suite for Piano. Includes holograph score and draft
Box 6 Folder 23
Theater of Substitution. Includes photographs, contracts and newspaper clipping, 1976
Box 6 Folder 24
Theater Piece, 1966
Box 6 Folder 25
Theater Piece for John Baldessari. Includes "15 Musical Projects, an Exchange (for Pauline Oliveros)", 1970 April
Box 6 Folder 26
Sonic Meditations, Phantom Fathom, and Theater Piece for Trombone Player (commissioned by Stuart Dempster)

Includes manuscript score, notes, correspondence, and photographs.

Box 7 Folder 1
Three Part Song, and Three Part Period. Includes holograph score and sketch
Oversize FB-403 Folder 01
Three Songs for Soprano and Horn. Includes "O You Whom I Often and Silently Come," "Noctum" and "That Shadow My Likeness." Texts by Walt Whitman and Carl Sanburg. Includes holograph sketch, transparencies and ozalid print, 1957
Oversize FB-403 Folder 02
Three Songs for Soprano and Piano. Includes "An Interlude of Rare Beauty," "Spider Song" and "Song No. Six (from Maximus)." Texts by Robert Duncan and Charles Olson. Includes sketch, holograph score and ozalid print, 1957
Box 7 Folder 4
Three Songs for Soprano and Piano. Includes manuscript score, published score and program, 1957
Box 7 Folder 5
Three Songs for Soprano and Horn. Includes "O You Whom I Often and Silently Come," and "That Shadow My Likeness", 1957

To Valerie Solanis and Marilyn Monroe in Recognition of Their Desperation

Box 7 Folder 6
Box 7 Folder 7
Includes various versions in multiple drafts and published score, 1970
Oversize MC-021-03
The Arch Ensemble for Experimental Music poster, 1980
Box 7 Folder 8
Traveling Companions. Includes photocopy of manuscript score, draft, drawings, and correspondence, 1980
Oversize FB-403 Folder 03
Trio for Accordion, Trumpet and String Bass (1961). Ozalid print, 1961
Oversize FB-403 Folder 04
Trio for Clarinet, Horn and Bassoon. Includes holograph scores, transparencies and ozalid print, 1955 - 1957

Trio for Flute, Percussion and String Bass

Oversize FB-403 Folder 05
Includes transparencies, ozalid print and holograph sketch, 1963
Oversize FB-403 Folder 06
Published score, 1963

Trio for Flute, Piano and Page Turner (1961)

Box 7 Folder 13
Includes holograph score, draft and correspondence, 1961
Oversize FB-403 Folder 07
Ozalid print, 1961
Box 7 Folder 15
Turning Meditation. Includes correspondence and notes for performance. Used for Elaine Summers' "Crow's Nest" , 1979-1980

See also: WORKS BY OTHERS, 1979-1980

Box 7 Folder 16
Twenty Five for Light and Four Players. Includes manuscript score, 1964
Oversize FB-403 Folder 08
Two Pieces for Trumpet, Accordion and String Bass, 1959. Includes holograph score and three additional pieces from 1960-1961
Box 7 Folder 18
Two Solo Pieces for Flute. Includes holograph score
Box 7 Folder 19
Undertone for Violin and Piano. Includes holograph score and fragment, 1951
Box 7 Folder 20
Valentine. Includes notes for the piece, a text that describes the piece and correspondence, 1968

Variations for Sextet (1960)

Oversize FB-403 Folder 09
Includes sketch of "Two Phrases for Trumpet, Accordion and String Bass" , November 17, 1959
Oversize FB-403 Folder 10
Ozalid print, 1960
Oversize FB-403 Folder 11
Flute, B-flat Clarinet, Cello, Horn in F, and B-flat Trumpet. Transparencies, 1960
Box 7 Folder 24
Variation on a Theme. For University of Illinois - Composer's Forum, 1977

View from the Bridge

Box 7 Folder 25
Includes holograph score, copyright registration and lists of works in progress, 1959
Oversize FB-404 Folder 01
Overture to View from the Bridge. Manuscript score, 1958
Oversize FB-404 Folder 02
Overture to View from the Bridge. Ozalid prints with extensive revisions, 1958
Oversize FB-404 Folder 03
Overture to View from the Bridge. Includes transparencies and unrevised ozalid prints, 1958
Box 7 Folder 29
Water Event. Postcard reproduced in Break Glass in Case of Fire: The Anthology from the Center for Contemporary Music , 1976
Box 7 Folder 30
Box 7 Folder 31
What to Do, 1972

Wheel of Fortune

Box 7 Folder 32
Includes manuscript score, which incorporates collage and playing cards
Box 7 Folder 33
Includes score, drafts and correspondence
Box 7 Folder 34
Why Don't You Write a Short Piece? Includes manuscript score and correspondence, 1970
Box 7 Folder 35
Willowbrook Generation and Reflections (1976?). Includes published score, manuscript score, drafts, and correspondence, 1976
Oversize FB-404 Folder 04
Wistaria. Holograph score, 1953
Box 8 Folder 2
Witness. Includes manuscript score, draft and correspondence, 1979
Box 8 Folder 3
Yellow River Map. Includes manuscripts of score, notes, film editing typescript, and correspondence, 1977 October

Miscellaneous Works

Box 8 Folder 4 Oversize FB-408-02
Music V Program. Printout of program coded in Fortran for musical score, 1972
Oversize MC-021-04
Unidentified score, handwritten on graph paper, undated


Oversize FB-404 Folder 05
Assorted sketches. Includes transparencies and a drawing
Box 8 Folder 7
Composition notes. Includes sketches of "Sonata (Unaccompanied Flute)," "Accordion Piece," and "Solo Piece for Flute", 1957-1960
Box 8 Folder 8
Graph of numerical values of notes
Box 8 Folder 9
Notepad - Scales, triads, intervals and exercises

Circa 20 pages of exercises including major scales, intervals, augmented intervals, triads, and inversions handwritten in ink by Oliveros (no compositions).

Oversize FB-404 Folder 06
Untitled sketches for ensemble. For flute, clarinet, double bass, bassoon, bass clarinet, trumpet, horn, trombone, percussion, harp, piano, and strings
Box 8 Folder 11-12
Oversize FB-404 Folder 07
Unidentified - Oversize


Scope and Content of Series

Series 2) WRITINGS: Manuscript drafts, typescripts and some supporting correspondence and notes. Included is material for Oliveros' book, Software for People: Collected Writings 1963-80, published in 1984. Arranged alphabetically.

Box 8 Folder 17
Box 8 Folder 19
Oversize FB-404 Folder 08
Every Instant of Life is an Opportunity for Concentration , 1980
Box 8 Folder 22
Five Scenes, 1972
Box 8 Folder 24
Box 8 Folder 25-26

Manuscript text of lecture, and conference packet.

Box 8 Folder 27
Box 8 Folder 31
Box 8 Folder 32
Box 9 Folder 2
Box 9 Folder 4
Box 9 Folder 5
Pauline's Proverbs , 1976
Box 9 Folder 6
Box 9 Folder 8-12

Includes responses exercise assigned by Pauline Oliveros, Alvin Lucier and Allan Strange.

Box 9 Folder 13
Box 9 Folder 15
Box 9 Folder 19
Box 10 Folder 1-4

Includes original presentation at the International Studies on Musical Creation and the Future in Mexico City on December 5, 1978; prepatory materials, and computer printouts.

Box 10 Folder 5
Box 10 Folder 6
Box 10 Folder 7
Box 10 Folder 9
Box 10 Folder 10
Box 10 Folder 11
Box 10 Folder 12
Box 10 Folder 13
Box 10 Folder 14
Box 10 Folder 15
Box 10 Folder 16


Scope and Content of Series

Series 3) PROJECTS: Various documents on some of the early projects Pauline Oliveros was involved with. Arranged in three subseries: A) San Francisco Tape Music Center at Mills College, B) Meditation Projects, and C) The Woman's Ensemble.

A) San Francisco Tape Music Center: Oliveros was one of the original members of the San Francisco Tape Music Center, which was an important resource for electronic music during the 1960s. The Center later moved to Mills College. This subseries includes typescript articles and miscellaneous materials relating to the Center's proposal for an environmental exhibit, Summer Tour 1964 information, concert reviews, publicity information and other documents.

B) Meditation Projects: Outlines and reports, journals, questionnaires and meditation materials relating to Oliveros' work exploring mental and physical exercises in concentration and how that affects techniques for rehearsal and performance of music. Materials include Oliveros' notes, reports on the Meditation Project, and other materials on awareness and meditation. Materials date from 1972-1975.

C) Women's Ensemble: The Women's Ensemble was a group formed by Oliveros to explore sonic meditations. The materials in this subseries include texts and brochures of the ensemble, group meeting notes, Oliveros' diary, photographs, reviews and some related correspondence.

San Francisco Tape Music Center at Mills College

Oversize FB-404 Folder 09
New Audio-Visual Music: A Mixture of Madness, Men and Machines, 1965

Article published in The San Francisco Sunday Chronicle, Bonanza, June 6, 1965.

Box 11 Folder 2
Box 11 Folder 3

Meditation Projects

Box 11 Folder 4
Box 11 Folder 5


Box 11 Folder 6
Cherney, Esther
Box 11 Folder 7
Dermond, Chris
Box 11 Folder 8
Dow, Georgia
Box 11 Folder 9
Evans, Stan
Box 11 Folder 10
Mayer, Fred
Box 11 Folder 11-12
Mizelle, Dary
Box 11 Folder 13
Van Fleet, Ellen
Box 11 Folder 14
Box 11 Folder 15
Box 11 Folder 16-17

The Women's Ensemble

Box 12 Folder 2
Box 12 Folder 3
Box 12 Folder 4
Box 12 Folder 5
Box 12 Folder 6
Box 12 Folder 7
Box 12 Folder 8


Scope and Content of Series

Series 4) INTERVIEWS AND CRITICISM: Arranged in three subseries: A) Interviews with Pauline Oliveros, B) Interviews by Pauline Oliveros, and C) Writings about Pauline Oliveros. The date range for these materials is 1963-1981.

A) Interviews with Pauline Oliveros: Arranged in alphabetical order by author and includes published interviews with Oliveros relating to her career and electronic music. The date range for these materials is 1976-1981.

B) Interviews by Pauline Oliveros: Interview typescripts arranged in alphabetical order by interviewee and include interviews of colleagues and musicians involved in electronic and experimental music such as fellow Deep Listening Band member Stuart Dempster. These interviews are from 1978-1979.

C) Writings about Pauline Oliveros: Published articles and criticisms about Oliveros and her work and are arranged alphabetically by author. These materials date from 1963-1980.

Interviews with Pauline Oliveros

Box 12 Folder 9
Box 12 Folder 10
Box 12 Folder 11
Colgan, C. - "CME Director Oliveros Says Center's Facilities and Projects are Unique", 1977
Box 12 Folder 12
Box 12 Folder 13
Hays, Doris - "Women and Music Festival Bonn 1980", 1981
Box 12 Folder 14
Box 12 Folder 16
Timar, Andrew - "Talk with Pauline Oliveros", 1979
Box 12 Folder 17
Zimmermann, Walter - "Pauline Oliveros", 1977
Box 12 Folder 18
Box 12 Folder 19

Interviews by Pauline Oliveros

Box 12 Folder 20
Box 12 Folder 21
Box 12 Folder 22
Box 12 Folder 23
Box 12 Folder 24
Box 12 Folder 25
Box 12 Folder 26
Box 12 Folder 27
Box 12 Folder 28
Box 12 Folder 29
Box 12 Folder 30
Box 12 Folder 31
Box 12 Folder 32
Box 12 Folder 33
Box 12 Folder 34

Writings about Pauline Oliveros

Box 13 Folder 1

Includes many examples of Oliveros' music and "Sonic Meditations."

Box 13 Folder 3
Childs, Barney - "Direction in American Composition Since the Second World War, Part II. Published in Music Educators Journal , 1960-1975
Box 13 Folder 4
Composers of Concert Music Born in the Twentieth Century , 1978
Box 13 Folder 5
Directory of Contemporary Music
Box 13 Folder 6
Drummond, Ron - "To Move the Rolling Sky: An Appreciation of Pauline Oliveros"
Box 13 Folder 7
Box 13 Folder 9
Lepagem, Jane Weiner - "Pauline Oliveros: Composer, Professor of Music and Director of the Center for...", 1980

Published in Women Composers, Conductors, and Musicians of the Century: Selected Biographies.

Box 13 Folder 10
Mac Low, Jackson - "Being Pauline Narrative of a Substitution." Published in Big Deal 4 , 1976
Box 13 Folder 11
Palmer, Craig - "The Magic Garden of Pauline Oliveros." Published in Coast FM and Fine Arts , 1970 July
Box 13 Folder 12
Box 13 Folder 14
Reynolds, Roger - "John Cage and Roger Reynolds: A Conversation." Published in The Musical Quarterly, vol. 65, 1979
Box 13 Folder 15
Schwartz, Elliot - "Directions in American Composition Since the Second World War, Part I, 1945 - 1960." Published in Music Educators Journal , 1975 February
Box 13 Folder 16
Spizizen, Louise - "The Composer of Area Code 714." Published in Applause: San Diego Magazine of the Arts , 1978 September-October
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Springer, P. Gregory - "The Nonpareils of Pauline Oliveros." Published in The Advocate , 1979 February 22
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Subotnick, Morton - "Pauline Oliveros: Trio." Published in Perspectives of New Music, vol. 2, no. 1, 1963


Scope and Content of Series

Series 5) PROGRAMS AND REVIEWS: Arranged in two subseries: A) Programs and B) Reviews. Each subseries is arranged chronologically.

A) Programs: The subseries ranges from 1949-1982 and includes programs of Oliveros' concerts, performances, recitals and workshops.

B) Reviews: Primarily newspaper clippings of reviews of Oliveros' musical performances. Materials are arranged chronologically and range in date from 1945-1981.


Center for Creative and Performing Arts, State University of New York at Buffalo

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Photocopies of programs and reviews, 1966 - 1975
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