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DAVID DOVE

DAVID DOVE

trombone player,
improviser, composer,
workshop facilitator

trombone player,
improviser, composer,
workshop facilitator

David Dove is a trombone player, composer, improviser, workshop facilitator, and curator/programmer of experimental music. Dove has given a wide range of performances and workshops across the US and internationally. Since 1997, he has been developing a practice and pedagogy for improvisation workshops that can be done with children as well as adults, and professional musicians as well as people who have never played before. He has presented hundreds of concerts in Houston by some of the most important international artists in contemporary music. As a presenter and performer, he was an important part of the emerging Houston scene of improvisers and continues to be active as a performer and presenter as that scene grows and evolves.    

David Dove is a trombone player, composer, improviser, workshop facilitator, and curator/programmer of experimental music. Dove has given a wide range of performances and workshops across the US and internationally. Since 1997, he has been developing a practice and pedagogy for improvisation workshops that can be done with children as well as adults, and professional musicians as well as people who have never played before. He has presented hundreds of concerts in Houston by some of the most important international artists in contemporary music. As a presenter and performer, he was an important part of the emerging Houston scene of improvisers and continues to be active as a performer and presenter as that scene grows and evolves.    

In 2001 David co-founded The Pauline Oliveros Foundation Houston with his mentor, composer Pauline Oliveros. In 2006, the organization became Nameless Sound, an independent Houston-based non-profit.  As Founding Director of Nameless Sound (a non-profit organization in Houston, Texas), he curates/presents a concert series of international contemporary experimental music. He has developed a philosophy and practice for music workshops. Nameless Sound’s pedagogy identifies collaborative improvisation for its potential toward goals of knowledge exchange, creative work, healing, community building, and play. Nameless Sound serves hundreds of youth annually in Houston homeless shelters, community centers, public schools, and refugee communities. Dove has written on music pedagogy, including a chapter titled “The Music is the Pedagogy” that has been published in the collection “Beyond the Classroom” (Routledge). 

In 2001 David co-founded The Pauline Oliveros Foundation Houston with his mentor, composer Pauline Oliveros. In 2006, the organization became Nameless Sound, an independent Houston-based non-profit.  As Founding Director of Nameless Sound (a non-profit organization in Houston, Texas), he curates/presents a concert series of international contemporary experimental music. He has developed a philosophy and practice for music workshops. Nameless Sound’s pedagogy identifies collaborative improvisation for its potential toward goals of knowledge exchange, creative work, healing, community building, and play. Nameless Sound serves hundreds of youth annually in Houston homeless shelters, community centers, public schools, and refugee communities. Dove has written on music pedagogy, including a chapter titled “The Music is the Pedagogy” that has been published in the collection “Beyond the Classroom” (Routledge). 

Dove’s early musical background ranged from jazz and symphonic music studies to punk rock bands. As a creative artist, free improvisation has been his primary (but not exclusive) approach to performance and collaboration. In addition to collaborations with other musicians, Dove has made music for film, dance, theater, poetry, and visual/installation work. He has focused on acoustic playing for most of his career, developing a style that draws influence from a range of sources including jazz, 20th-century composed music, electronic music, and free improvisation. He’s inspired by a diverse range of influences from outside of his form, including hardcore punk rock, visual/conceptual arts, modern/contemporary dance, and Houston mixtape visionary DJ Screw. The influence of DJ Screw was the catalyst for an electronics-based development in Dove’s music. In an attempt to assimilate the effect of Screw’s extremely slow and low mixes (as real-time, improvisational music), Dove extends the trombone with the use of guitar pedals, pitch shifters, and (most importantly) subwoofers.

Dove’s early musical background ranged from jazz and symphonic music studies to punk rock bands. As a creative artist, free improvisation has been his primary (but not exclusive) approach to performance and collaboration. In addition to collaborations with other musicians, Dove has made music for film, dance, theater, poetry, and visual/installation work. He has focused on acoustic playing for most of his career, developing a style that draws influence from a range of sources including jazz, 20th-century composed music, electronic music, and free improvisation. He’s inspired by a diverse range of influences from outside of his form, including hardcore punk rock, visual/conceptual arts, modern/contemporary dance, and Houston mixtape visionary DJ Screw. The influence of DJ Screw was the catalyst for an electronics-based development in Dove’s music. In an attempt to assimilate the effect of Screw’s extremely slow and low mixes (as real-time, improvisational music), Dove extends the trombone with the use of guitar pedals, pitch shifters, and (most importantly) subwoofers.

Another special interest is site-specific performance (especially when a special acoustic environment is available) and durational events (lasting for as long as 5-8 hours). Non-musical performative activity has also been explored in recent projects. Dove has collaborated with a wide range of local, national, and international creative musicians. He performs in both set groups and ad hoc ensembles, as well as solo. 

Another special interest is site-specific performance (especially when a special acoustic environment is available) and durational events (lasting for as long as 5-8 hours). Non-musical performative activity has also been explored in recent projects. Dove has collaborated with a wide range of local, national, and international creative musicians. He performs in both set groups and ad hoc ensembles, as well as solo. 

NAMELESS SOUND

Nameless Sound presents international contemporary music and new methods in arts education.

In 1997, David Dove started an improvisation workshop for teenagers at MECA (Multicultural Education and Counseling through the Arts), a Houston arts community center. Dove was interested in addressing something missing in traditional music education – creativity. He identified improvisation as the most inclusive way to engage young people in creative music-making. He found that through improvisation, a diverse group of kids was able to immediately participate in meaningful collaboration, despite the fact they came from such different musical backgrounds. He also found that those with less musical experience could get as much from the process as those with extensive training and that the technically accomplished could find the process just as challenging as the beginner.

In 1997, David Dove started an improvisation workshop for teenagers at MECA (Multicultural Education and Counseling through the Arts), a Houston arts community center. Dove was interested in addressing something missing in traditional music education – creativity. He identified improvisation as the most inclusive way to engage young people in creative music-making. He found that through improvisation, a diverse group of kids was able to immediately participate in meaningful collaboration, despite the fact they came from such different musical backgrounds. He also found that those with less musical experience could get as much from the process as those with extensive training and that the technically accomplished could find the process just as challenging as the beginner.

Shortly after Dove began at MECA, he was asked to join the Advisory Board at Houston art organization, Diverse Works. As a member of that board, he organized performances by some of the most important names in experimental and improvised music. And when these artists came to Houston, they wouldn’t just perform. Dove would bring them to MECA to lead sessions in his workshop.  

Shortly after Dove began at MECA, he was asked to join the Advisory Board at Houston art organization, Diverse Works. As a member of that board, he organized performances by some of the most important names in experimental and improvised music. And when these artists came to Houston, they wouldn’t just perform. Dove would bring them to MECA to lead sessions in his workshop.  

Dove had encouragement and inspiration from his mentor, the groundbreaking composer Pauline Oliveros. Oliveros not only urged Dove to continue this work, but she challenged him to create a framework for it. She felt that his model fit perfectly within the mission of the non-profit organization she founded, Pauline Oliveros Foundation (now called Deep Listening Institute). And she invited Dove to start a Houston branch of her New York State-based organization. In 2001, the Pauline Oliveros Foundation Houston was born. Nine concerts were presented that year, and the youth improvisation workshop continued as a collaborative effort with MECA. An ongoing campaign of workshops in public schools was initiated. Not long after that, the Houston organization changed its name along with its parent organization, becoming the Deep Listening Institute Houston (DLI Houston).

Dove had encouragement and inspiration from his mentor, the groundbreaking composer Pauline Oliveros. Oliveros not only urged Dove to continue this work, but she challenged him to create a framework for it. She felt that his model fit perfectly within the mission of the non-profit organization she founded, Pauline Oliveros Foundation (now called Deep Listening Institute). And she invited Dove to start a Houston branch of her New York State-based organization. In 2001, the Pauline Oliveros Foundation Houston was born. Nine concerts were presented that year, and the youth improvisation workshop continued as a collaborative effort with MECA. An ongoing campaign of workshops in public schools was initiated. Not long after that, the Houston organization changed its name along with its parent organization, becoming the Deep Listening Institute Houston (DLI Houston).

In 2006, with the blessing of Oliveros, DLI Houston broke off from its parent organization and became Nameless Sound, an independent nonprofit based in Houston. Since then, Nameless Sound has continued to evolve. Its concert series has become known for its wide range of well-known international artists, as well as emerging locals. Concerts happen in traditional performance spaces, but also in renowned art environments and unusual site-specific locations. The organization has commissioned work, and also fosters collaborations between visiting guests and Houston musicians.

In 2006, with the blessing of Oliveros, DLI Houston broke off from its parent organization and became Nameless Sound, an independent nonprofit based in Houston. Since then, Nameless Sound has continued to evolve. Its concert series has become known for its wide range of well-known international artists, as well as emerging locals. Concerts happen in traditional performance spaces, but also in renowned art environments and unusual site-specific locations. The organization has commissioned work, and also fosters collaborations between visiting guests and Houston musicians.

Around that same time, Nameless Sound was invited to give workshops for children in Houston homeless shelters. This was an important turning point. It greatly widened the age group that the organization worked with, and initiated the practice of workshops for people who had no previous experience playing music at all. Perhaps most importantly, through this engagement with children dealing with homelessness (as well as other related traumas), Dove and his colleagues developed a sense of the therapeutic power of creative and collective music making. They began to witness the potential for social-emotional learning in the improvisational process. And they began to understand how a secure framework for creative music making could also provide a safe space for vulnerability.  Not long after this, the organization began workshops with children from refugee families at a number of after-school programs in the Houston area.

Around that same time, Nameless Sound was invited to give workshops for children in Houston homeless shelters. This was an important turning point. It greatly widened the age group that the organization worked with, and initiated the practice of workshops for people who had no previous experience playing music at all. Perhaps most importantly, through this engagement with children dealing with homelessness (as well as other related traumas), Dove and his colleagues developed a sense of the therapeutic power of creative and collective music making. They began to witness the potential for social-emotional learning in the improvisational process. And they began to understand how a secure framework for creative music making could also provide a safe space for vulnerability.  Not long after this, the organization began workshops with children from refugee families at a number of after-school programs in the Houston area.

Nameless Sound’s workshop program continues to evolve. Their pedagogical philosophy was published by Routledge in the anthology Improvisation and Music Education: Beyond the Classroom. Our Facilitator’s Handbook guides practicing artists to collaborate with youth and shape our workshops with their creative approaches. Training in trauma-informed interventions, assimilation of Restorative Justice Practices, and regular training in the pedagogies of various artists-in-residence continue to shape this work.

Nameless Sound’s workshop program continues to evolve. Their pedagogical philosophy was published by Routledge in the anthology Improvisation and Music Education: Beyond the Classroom. Our Facilitator’s Handbook guides practicing artists to collaborate with youth and shape our workshops with their creative approaches. Training in trauma-informed interventions, assimilation of Restorative Justice Practices, and regular training in the pedagogies of various artists-in-residence continue to shape this work.

SELECTED WORKS

SELECTED WORKS

Designed by Leonid Andrulaitis

Designed by Leonid Andrulaitis

Designed by Leonid Andrulaitis

Designed by Leonid Andrulaitis