An Ending (Ascent) A Haunting Tapestry of Drones and Textures Weaving Unexpected Melodies

“An Ending (Ascent)”, a pivotal piece in the experimental music oeuvre of Pauline Oliveros, stands as a testament to her pioneering spirit and unconventional approach to sound manipulation. Created in 1984, it exemplifies her signature “Deep Listening” philosophy, a practice that encourages attentive listening and mindful engagement with sonic environments. This piece is not simply heard; it is experienced, absorbed, and ultimately transformed into a personal journey of sonic exploration.

Pauline Oliveros (1932-2016) was a composer, accordionist, and teacher whose impact on the world of experimental music is undeniable. She challenged conventional notions of musical structure, embracing improvisation, extended techniques, and the integration of environmental sounds. Oliveros believed that listening was an active process, requiring deep attention to subtle sonic nuances and the interplay between individual sounds and their surroundings.

Her Deep Listening practice, developed in the 1970s, fostered a more inclusive understanding of music, one that transcended traditional barriers between performer and listener. Oliveros envisioned a world where music became a communal experience, encouraging participants to engage with sound not merely as passive observers but as active co-creators.

“An Ending (Ascent)”, composed for solo accordion and tape, exemplifies these principles in its construction. The piece begins with the mournful drone of an accordion, a single note sustained and reverberating into the sonic space. Gradually, other sounds emerge from the tape: distant chirps, rustling leaves, subtle electronic hums.

These elements are meticulously interwoven with Oliveros’s accordion playing, creating a tapestry of textures that shift and evolve over time. The listener is invited to delve into this sonic landscape, following the intricate interplay of drones, melodies, and ambient sounds.

The piece progresses through distinct sections, each marked by subtle shifts in timbre and dynamics. At times, the accordion takes center stage, its mournful tones weaving haunting melodies against a backdrop of electronic textures. In other moments, the tape-recorded sounds take precedence, creating an evocative soundscape that evokes both tranquility and unease.

Oliveros’s masterful manipulation of sonic space is evident throughout “An Ending (Ascent)”. She employs extended techniques on the accordion, including breath control, reed manipulation, and percussive articulations, to create a wide range of timbral effects.

These techniques are seamlessly integrated with the tape-recorded sounds, blurring the line between acoustic and electronic instrumentation.

One striking feature of “An Ending (Ascent)” is its sense of ambiguity. The piece does not follow conventional musical structures or harmonies. Instead, it unfolds in a non-linear fashion, inviting the listener to experience sound as a fluid and ever-changing phenomenon.

The absence of traditional melodic structure allows for moments of profound stillness and contemplation, punctuated by bursts of unexpected sonic activity.

Table: Key Musical Features of “An Ending (Ascent)”

“An Ending (Ascent)” challenges listeners to embrace ambiguity and surrender to the immersive sonic experience it creates. It is a piece that rewards repeated listening, revealing new layers of complexity and nuance with each encounter. As a seminal work in the experimental music canon, “An Ending (Ascent)” continues to inspire composers and listeners alike, prompting reflection on the nature of sound and its transformative power.

For those seeking a truly immersive sonic experience, “An Ending (Ascent)” offers a compelling journey into the world of experimental music. Its haunting drones, evocative textures, and unexpected melodies create an atmosphere that is both ethereal and deeply grounding. This piece is not simply something to be heard; it is an invitation to explore the depths of listening itself.