Silence As a Hermeneutic Oasis of Music

Authors

  • Mirjana Veselinović-Hofman

DOI:

https://doi.org/10.4312/mz.43.2.333-357

Keywords:

musical silence, temporal-spatial unity, phenomenology of the space of music, hermeneutic ‘suspension chord’

Abstract

This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotion and thoughts, for their ‘authentication’ and justification; for establishing and ‘specifying’ narratives, and even renouncing them. This thesis is elaborated here on the basis of three compositions which belong to the Serbian music of the 1990s. These are: The Abnormal Beats of Dogon for bass clarinet, piano, mouth harmonica, percussion and live electronics (1991) and I have not spoken for alto saxophone, bass-mouth harmonica, actor-narrator and mixed choir (1995) by Zoran Erić and Nocturne of the Belgrade Spring 1999 AD for chamber ensemble, live electronics and audiotape (1999) by Srđan Hofman.

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Published

01.12.2007

How to Cite

Veselinović-Hofman, M. (2007). Silence As a Hermeneutic Oasis of Music. Musicological Annual, 43(2), 333–357. https://doi.org/10.4312/mz.43.2.333-357

Issue

Vol. 43 No. 2 (2007)

Section

Articles

License

Copyright (c) 2007 Mirjana Veselinović-Hofman

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