Third Person by Pauline Oliveros – A Haunting Tapestry of Found Sounds and Acoustic Exploration

Pauline Oliveros’ “Third Person” (1971) stands as a testament to the boundless possibilities of experimental music. This composition, a groundbreaking work in the realm of electroacoustic music, weaves together found sounds and acoustic improvisation into a haunting tapestry that compels listeners to confront their own perceptions of sound and space.

Born in 1932, Pauline Oliveros was a pioneering American composer who dedicated her life to pushing the boundaries of musical expression. She championed the concept of “deep listening” – an immersive approach to music-making that emphasizes attentiveness, awareness, and openness to sonic nuances. This philosophy permeates every facet of “Third Person,” inviting the listener into a sonic landscape where everyday sounds acquire new meaning and significance.

The piece opens with a sparse texture, featuring isolated clicks, rustles, and whispers recorded from Oliveros’ environment. These fragmented sounds gradually coalesce into larger sonic events, evolving and morphing through the manipulation of tape speed and other electronic techniques. The result is a captivating blend of realism and surrealism, where the listener struggles to distinguish between the organic and the synthetic.

“Third Person” also incorporates acoustic improvisation performed by Oliveros herself on a variety of instruments, including the accordion, voice, and various homemade percussion devices. These improvisations intertwine with the pre-recorded soundscapes, creating a dynamic interplay between spontaneity and control. The music ebbs and flows organically, reflecting the unpredictable nature of both sound and human perception.

Understanding the Historical Context

To truly appreciate the impact of “Third Person,” it’s crucial to understand the historical context in which it was created.

The 1960s and 70s witnessed a surge in experimental music practices, driven by technological advancements in electronic sound generation and manipulation. Composers like John Cage, Karlheinz Stockhausen, and Luigi Nono were breaking free from traditional musical conventions, exploring new sonic territories and challenging the very definition of music itself.

Oliveros emerged as a key figure within this avant-garde movement. She was deeply influenced by Zen Buddhism and Eastern philosophies, which informed her approach to deep listening and improvisation. Her work reflected a growing interest in blurring the lines between music, art, and everyday experience.

Analyzing the Musical Structure

“Third Person” defies conventional musical structure. There are no clear melodies or harmonies; instead, the piece unfolds as a series of sonic events that ebb and flow organically. The listener is invited to experience the music not as a passive observer but as an active participant in the creative process.

Here’s a breakdown of some key elements:

• Found Sounds: These recordings form the foundation of the piece, providing a sense of immediacy and grounding.

• Acoustic Improvisation: Oliveros’ improvisations inject a sense of spontaneity and human touch into the otherwise electronic soundscape.

• Tape Manipulation: Through techniques like speed variation, looping, and filtering, Oliveros transforms the original recordings into new and unexpected sonic textures.

• Silence: Strategic pauses and moments of silence allow the listener to absorb the music and reflect on their own experience.

Experiencing “Third Person”: A Journey for the Listener

Listening to “Third Person” can be a profoundly transformative experience. The music invites us to let go of preconceived notions about what music should sound like and embrace the unknown. It challenges our assumptions about the relationship between sound and meaning, encouraging us to listen with an open mind and heart.

Here are some tips for getting the most out of listening to “Third Person”:

• Find a quiet space: Minimize distractions and create an environment conducive to deep listening.

• Use headphones: This will allow you to fully immerse yourself in the intricate details of the sonic landscape.

• Close your eyes: Allow the music to wash over you without visual distractions.

• Be patient: Don’t expect a conventional musical experience with clear melodies and harmonies. Let the sounds unfold organically and embrace the unexpected.

• Reflect on your experience: After listening, take some time to consider how the music made you feel. What thoughts and emotions did it evoke?

“Third Person” is not just a piece of music; it’s an invitation to explore the vast and wondrous world of sound. Through Oliveros’ masterful use of found sounds, acoustic improvisation, and electronic manipulation, we are transported to a sonic realm where anything is possible.

Let the journey begin.