Music and Silence

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DOI:

https://doi.org/10.33871/vortex.2024.12.9117

Keywords:

Silence, Musical Duration, Music Subjectivity, Music Form, Music

Abstract

Music needs silence to become a presence for those who experience it; an originary silence that surrounds music and from which it is born dies and is reborn in a continuous activity of the spirit. As a symbol of virtual sound possibilities and of the constructive and destructive freedom of the being, silence produces the expectation experienced in musical duration, an expectation that is attention to the musical form and participation in the act that engenders it. It is not just the absence of sound, it is what we turn to intimately to find the completeness of the musical form, whether in its conclusions or in its inconclusive cessations. Whatever is its affective quality and its expressive or formal forces, silence contains a call to overcome itself, to the act of the spirit that overcomes it. And music, the result of the subjective qualities of silence, must always return to it in order to reach its fullness.

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Author Biographies

Gisèle Brelet, Université Sorbonne Paris IV

Gisèle Brelet (1915-1973) was born in Fontenay-le-Comte, in the Vendee region. She studied piano with Gontran Arcouet at the Conservatoire de Nantes and Lazare Levy at the Conservatoire National de Paris. He did a degree in biology and a doctorate in philosophy at the Sorbonne Paris IV University. Brelet contributed to a considerable number of musical, philosophical and other reviews. From 1951, as director of the Bibliothèque Internationale de Musicologie Presses Universitaires de France, she endeavored to promote a series of works designed to represent contemporary aesthetic thinking on music. As a solo pianist with the ORTF, she dedicated herself to the interpretation of contemporary music, with a special interest in the works of young composers.

Gustavo Bonin, Universidade de São Paulo

Gustavo Bonin (1988) holds a PhD in Sonology/Creative Processes and a Master's degree in Musicology from the School of Communication and Arts of the University of São Paulo (ECA-USP). He is currently doing a post-doctorate in Linguistics and Semiotics at the Faculty of Philosophy, Letters and Human Sciences (FFLCH-USP). He was a substitute professor of Musical Perception at the Federal University of Rio de Janeiro (UFRJ). He studied composition at the São Paulo State Music School (EMESP). Based on the tensive approach of discursive semiotics, he studies musical enunciation and the performative objects in which musical language establishes contact with other diverse artistic languages.

Juliana Di Fiori Pondian, Universidade Federal Fluminense

Juliana Di Fiori Pondian (1983) is a professor of Linguistics at the Universidade Federal Fluminense - RJ, Brazil, where she conducts research into the linguistics of writing (graphematics), semiotics, translation and poetry.

References

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Published

2024-09-16

How to Cite

Brelet, G., Bonin, G., & Di Fiori Pondian, J. (2024). Music and Silence. Vortex Music Journal, 12, 1–22. https://doi.org/10.33871/vortex.2024.12.9117

Issue

Vol. 12 (2024): Revista Vórtex

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Translation

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Copyright (c) 2024 Gisèle Brelet; Gustavo Bonin, Juliana Di Fiori Pondian

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