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Nameless Sound was established in 2001 to present the best of international contemporary music and to support the exploration of new methods in arts education

Nameless Sound presents concerts by premier artists in the world of creative music. In addition, Nameless Sound artists work directly with students from Houston’s public schools, community centers, and homeless shelters. Nameless Sound’s educational work helps to nurture a new generation of artists and inspire tomorrow’s creative thinkers
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Nameless Sound and Lawndale present...
They, Who Sound
experimental sound-making, improvised music, noises, the sounding of art, the performance of art and . . .

Sound Piece by Pauline Oliveros

Different Artists and Performers
Every Monday
Two distinct sets each night

Doors open at 7pm

at Lawndale
4912 Main St.
(parking behind the building on Travis & Rosedale)


on Monday, May 27
will feature:

Sound Piece by Pauline Oliveros

performers include:
Anisa Boukhlif
Jamal Cyrus
Randi Long
Gabriel Martinez
Ruairi OBrien
Veronica Anne Salinas
Carrie Schneider
Tim Schorre
Emily Sloan
Misha Tsypin
Ronnie Yates

FREE ADMISSION. Donations to They, Who Sound welcome.

Nameless Sound and Lawndale will close out the second season of their weekly They, Who Sound series with a presentation of Pauline Oliveros’s Sound Piece. The 1998 text-based score will be performed throughout Lawndale’s galleries by an ensemble of local and regional artists. Audience members are encouraged to move freely throughout the space since there will be no seating for this final event of the season.
The performance of Sound Piece will conclude three days of events celebrating Pauline Oliveros throughout Houston, including Studio Enertia’s Deep Listening®: Pauline Oliveros Day at Discovery Green on May 25 and Buffalo Bayou Partnership/Nameless Sound’s Sounding the Cistern - for Pauline Oliveros on May 26. The performance at Lawndale also connects with the current Lawndale exhibition Axis Mundo: Queer Networks in Chicano L.A. which features work by and documentation of Pauline Oliveros’ practice.
Pauline Oliveros’ significance as a composer was first established in the early 1960’s, through sonically daring works of groundbreaking electronic music (as well as for notated pieces like Sound Patterns, which launched her international career when it earned the Gaudeamus International Composers Award in 1962). She consistently operated on the cutting edge of technology through a range of projects, including her live improvisations with global collaborators, facilitated in real-time through high-speed Internet connection.
Oliveros was an influential teacher, writer and community leader. As a recognized composer, she took a bold step in the early-1970’s with her text-based scores Sonic Meditations. She temporarily rejected public performance, and practiced these scores with a cohort of women that included both musicians and non-musicians. "Sonic Meditations" may represent the avant-garde’s most significant effort towards inclusivity in music-making. They are still widely employed as the basis for community workshops, and they planted the seed for Oliveros’ philosophy of Deep Listening.
Oliveros was an accordion player, and her practice on that instrument had roots in the city where she was raised. Houstonians well know the instrument as one sounded in a great diversity of cultural expressions. This instrument’s plurality was certainly meaningful to her. And its underdog status in “serious music” was also embraced. This too was rooted in her hometown, as the University of Houston had the country’s only bachelor’s and master’s degrees in classical accordion performance. 
Oliveros was an improviser. In this capacity, she most immediately expressed her mastery of how sonic frequencies move through physical and architectural space. In performance, her accordion could send sounds in any direction, and shape them in a range of resonances. These abilities were famously employed for recordings in unusual locations with special acoustic qualities. The most famous is her 1988 recording in Washington State’s Fort Worden Cistern. That cistern’s acoustic qualities, like its 45-second reverberation, have become well known. Acoustic architects at Rensselaer Polytechnic Institute have digitally simulated this space for off-site performance.  
Oliveros was an important mentor. Those who she taught, coached, and inspired span generations around the globe, in contexts that range from the academic to the personal. Through the Deep Listening Institute at Rensselaer, that legacy continues. Here in Houston, Nameless Sound was started under her guidance and remains active after almost 20 years.  
Oliveros was a native of Houston, Texas. And she was perhaps the most influential experimental artist ever to come from our city.

They, Who Sound is supported by the Cullen Trust for the Performing Arts.

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