The second listening session considers the work of composers whom explore listening and make it a focus of their work. Many aspects of the listening practices which we know today emerged out of the practices of composers during the twentieth century, such as Pauline Oliveros, who developed the practice of Deep Listening while also working as a composer and a musician. What influence do these practices of listening and composing have on the work of composers today? What role does listening, or the future listener, play when composing?