Silence is the absence of ambient audiblesound, the emission of sounds of such low intensity that they do not draw attention to themselves, or the state of having ceased to produce sounds; this latter sense can be extended to apply to the cessation or absence of any form of communication, whether through speech or other medium.[1]
Sometimes speakers fall silent when they hesitate in searching for a word, or interrupt themselves before correcting themselves. Discourse analysis shows that people use brief silences to mark the boundaries of prosodic units, in turn-taking, or as reactive tokens, for example, as a sign of displeasure, disagreement, embarrassment, desire to think, confusion, and the like. Relatively prolonged intervals of silence can be used in rituals; in some religious disciplines, people maintain silence for protracted periods, or even for the rest of their lives, as an ascetic means of spiritual transformation.
Perception
In the philosophy of perception and the science of perception, there has been a longstanding controversy as to how humans experience silence: "the perceptual view (we literally hear silence), and the cognitive view (we only judge or infer silence)", with prominent theories holding the latter view.[2] However, a study published in 2023 in the Proceedings of the National Academy of Sciences reported findings based on empirical experiments testing whether temporal distortions known to be experienced with respect to sounds, were also analogously experienced with respect to periods of silence.[2] The experimental results in all cases suggested that, at least in this context, humans respond to moments of silence the same way as to sounds—supporting the perceptual view that humans literally hear silence.[2]
Rhetorical practice
Silence may become an effective rhetorical practice when people choose to be silent for a specific purpose.[3] It has not merely been recognized as a theory but also as a phenomenon with practical advantages. When silence becomes rhetorical, it is intentional since it reflects a meaning. Rhetorical silence targets an audience rather than the rhetorician.[4]
Uses
History
Joseph Jordania has suggested that in social animals (including humans), silence can be a sign of danger. Many social animals produce seemingly haphazard sounds which are known as contact calls.[5] These are a mixture of various sounds, accompanying the group's everyday business (for example, foraging, feeding), and they are used to maintain audio contact with the members of the group. Some social animal species communicate the signal of potential danger by stopping contact calls and freezing, without the use of alarm calls, through silence. Charles Darwin wrote about this in relation with wild horse and cattle.[6] Jordania has further suggested that human humming could have been a contact method that early humans used to avoid silence.[7] According to his suggestion, humans find prolonged silence distressing (suggesting danger to them). This may help explain why lone humans in relative sonic isolation feel a sense of comfort from humming, whistling, talking to themselves, or having the TV or radio on.
"Silence" in spirituality is often a metaphor for inner stillness. A silent mind, freed from the onslaught of thoughts and thought patterns, is both a goal and an important step in spiritual development. Such "inner silence" is not about the absence of sound; instead, it is understood to bring one in contact with the divine, the ultimate reality, or one's own true self, one's divine nature.[8] Many religious traditions imply the importance of being quiet and still in mind and spirit for transformative and integral spiritual growth to occur. In Christianity, there is the silence of contemplative prayer such as centering prayer and Christian meditation; in Islam, there are the wisdom writings of the Sufis who insist on the importance of finding silence within. In Buddhism, the descriptions of silence and allowing the mind to become silent are implied as a feature of spiritual enlightenment. In Hinduism, including the teachings of Advaita Vedanta and the many paths of yoga, teachers insist on the importance of silence, Mauna, for inner growth. Ramana Maharishi, a revered Hindu sage, said, "The only language able to express the whole truth is silence." Perkey Avot, the Jewish Sages guide for living, states that, "Tradition is a safety fence to Torah, tithing a safety fence to wealth, vows a safety fence for abstinence; a safety fence for wisdom... is silence." In some traditions of Quakerism, communal silence is the usual context of worship meetings, in patient expectancy for the divine to speak in the heart and mind.[9][10] In the Baha'i Faith, Baha'u'llah said in "Words of Wisdom", "the essence of true safety is to observe silence".[11]Eckhart Tolle says that silence can be seen either as the absence of noise, or as the space in which sound exists, just as inner stillness can be seen as the absence of thought, or the space in which thoughts are perceived.
A common way to remember a tragic incident and to remember the victims or casualties of such an event is a commemorative moment of silence.[12]
Debate
Argumentative silence is the rhetorical practice of saying nothing when an opponent in a debate expects something to be said. Poorly executed, it can be offensive, like refusing to answer a direct question. A well-timed silence can throw an opponent off and give the debater the upper hand.
An argument from silence (Latin: argumentum ex silentio) is an argument based on the assumption that someone's silence on a matter suggests (an informal fallacy) that person's ignorance of the matter. In general, ex silentio refers to the claim that the absence of something demonstrates the proof of a proposition.
Law
The right to silence is a legal protection enjoyed by people undergoing police interrogation or trial in certain countries. The law is either explicit or recognized in many legal systems.[13]
Film
The documentary film In Pursuit of Silence (2016) portrays the spiritual and physical benefits of silence, as well as the price paid individually and collectively for a noisy world.[14] It is narrated by authors Helen Lees (Silence in Schools), Pico Iyer (The Art of Stillness), Susan Cain (Quiet), Maggie Ross (Silence: A User's Guide), and George Prochnik (In Pursuit of Silence).[14]
Music inherently depends on silence, in some form or another, to distinguish other periods of sound and allow dynamics, melodies, and rhythms to have greater impact. For example, most music scores feature rests, which denote periods of silence. In addition, silence in music can be seen as a time for contemplation. The audience feels the effects of the previous notes and melodies, and can intentionally reflect on what they have heard. Silence does not hinder musical excellence but can enhance the sounds of instruments and vocals within a given musical composition.[15]
In his book Sound and Silence (1970), the composer John Paynter says, "the dramatic effect of silence has long been appreciated by composers." He gives as an example "the general pause in the middle of the chorus 'Have lightnings and thunders …' in Bach's St. Matthew Passion":[16]
Bach, "Sind Blitze, sind Donner" (chorus) from the St. Matthew Passion."Sind Blitze, sind Donner" (chorus) from the St. Matthew Passion.
After the pause, the music continues to the words: "Open up the fiery bottomless pit, O hell!" The silence is intended to communicate a momentary sensation of terror, of staring into unfathomable darkness. Another example of a dramatic silence comes in the "rest full of tension" [17] at the climactic ending of the Hallelujah chorus in Handel's Messiah:
Musical silences may also convey humour. Haydn's Quartet in E flat, Op. 33 was nicknamed "The Joke", because of the comic timing of the pauses at the end of the last movement:
The closing bars of String Quartet in E flat, Op. 33 by HaydnThe closing bars of String Quartet in E flat, Op. 33 by Haydn.
Taruskin (2010, p.552) says, "whenever this ending is performed, it takes the audience an extra second or so to recover its wits and realize that the piece is indeed over. The result is an inevitable giggle—the same giggle that overtakes a prestidigitator's audience when it realizes that it has been 'had'."[18]
Barry Cooper (2011, p.38) [19] writes extensively of Beethoven's many uses of silence for contemplation, for dramatic effect and especially for driving the rhythmic impetus of the music. He cites the start of the second movement of the Ninth Symphony, where the silences contribute to a powerful sense of propulsion: "The rhythm of bar 1 is incomplete and demands a note at the beginning of bar 2. The substitution of such a note by a whole-bar rest therefore gives the effect of a suppressed sound, as if one were about to speak but then refrains at the last moment. The 'suppressed sound' is then repeated in bar 4, and 'developed' (by being doubled) in bars 7 and 8." Grove (1898, p.355) harvtxt error: no target: CITEREFGrove1898 (help) writes of the "strange irregularity of rhythm in the sixth bar" of this movement.[20]
The opening bars of the scherzo from Beethoven's ninth symphonyThe opening bars of the scherzo from Beethoven's ninth symphony.
Robert Schumann's song "Ich hab' im Traum geweinet" from his song cycle Dichterliebe uses silence to convey an almost gothic ambiance, suggesting the darkness of the grave where the dreaming poet imagines his lover has been placed: "I wept in my dreams, I dreamt you were lying in your grave."
Schumann, "Ich hab' im Traum geweinet", from Dichterliebe.
In his book advising pianists and singers about interpretation, the pianist Gerald Moore stresses the need to fully observe the precisely notated rests, especially in the fourth bar above "where nothing is happening, that is to say nothing except a silence, a pregnant silence which, if shortened, dissipates the suffering it is intended to convey."[21][22]
Much has been said about the harmony of the opening to Wagner's opera Tristan und Isolde, which Taruskin (2010, p.540) calls "perhaps the most famous, surely the most commented-on, single phrase of music ever written." His strategic use of silences between phrases intensifies the troubled ambiguity of the music: "The chord that fills the ensuing silence in the listener's inner ear… is the unstated – indeed never to be stated, and ultimately needless to be stated – tonic of that key."[23]
Wagner, Tristan Prelude, openingWagner, Prelude to Tristan and Isolde, opening bars.
Some of the most effective musical silences are very short, lasting barely a fraction of a second. In the spirited and energetic finale of his Symphony No. 2, Brahms uses silences at several points to powerfully disrupt the rhythmic momentum that has been building. (See also syncopation.)
During the 20th century, composers explored further the expressive potential of silence in their music.[25] The contemplative concluding bars of Anton Webern's Symphony[26] (1928) and Stravinsky's Les Noces The Wedding, 1923)[27] make telling and atmospheric use of pauses. Eric Walter White (1947, p.74) describes the ending of Les Noces as follows: "As the voices cease singing, pools of silence come flooding in between the measured strokes of the bell chord, and the music dies away in a miraculously fresh and radiant close."[28]
Woodwinds jump, growl and shriek. Silence. Eight solemn bell strokes echo and die. Again silence. Suddenly the brasses blare, and out of the trombones' awesome processional grows a steady roar … the big gongs the tam-tam beaten in a long and powerful resonance, shattering and echoing across mountains and along valleys. This is music of the high hills, music for vast spaces: 'The hour is coming when the dead will hear the voice of the Son of God'. We can feel the awe and the majesty of the High Alps and the great churches. The instrumental sounds are vast the silences are deep. The words of St John are alive in the music, and through these sounds Messiaen reveals himself and his vision.[16]
An extreme example from 1952 is 4′33″, an experimental musical work by avant-garde composerJohn Cage, incorporating ambient sounds not foreseeable by the composer. Though first performed on the piano, the piece was composed for any instrument or instruments and is structured in three movements. The length of each movement is not fixed by the composer, but the total length of the combination of three movements is. The score instructs the performer(s) to remain silent throughout the piece.[30][31] There are telling examples of the use of silence in jazz. A frequently used effect, known as "stop-time", places silences at moments where listeners or dancers might expect a strong beat, contributing to the syncopation. Scott Joplin's Rag-Time Dance (1902) features stop-time silences:
Scott Joplin, from the Rag-Time Dance (1902)Scott Joplin, Rag-Time Dance (1902)
Early recordings[32] of the Rag Time Dance follow Joplin's instructions as follows: "To get the desired effect of 'Stop Time', the pianist will please stamp the heel of one foot heavily upon the floor."[33] Later recordings[34] disregard this direction – the regular beat is implied rather than stated and the silences are more palpable. Keith Swanwick (1979, p.70) is enchanted by the "playfulness and humour" engendered by the stop-time effects in Jelly Roll Morton's solo piano recording of The Crave (1939):[35] "If we listen to this, tapping or clicking along with the beat, we shalt find ourselves surprised by two patches of silence near the end. The beat goes on but the sound stops. The effect is something like being thrown forward when a car stops suddenly. It is the biggest surprise in an engaging piece of music full of little deviations (syncopations) from the repeated beat."[36]
Other examples include the closing bars of Louis Armstrong's recording of Struttin' with Some Barbecue (1928)[37] and the hair's-breadth pause at the end of pianist Bill Evans' solo on Miles Davis' recording of On Green Dolphin Street (1959).[38]Duke Ellington's "Madness in Great Ones", from his Shakespearean Suite Such Sweet Thunder (1957)[39] conveys the feigned madness of Prince Hamlet through abrupt and unpredictable pauses that interrupt the flow of the music. The reggae band Black Slate had a hit in 1980 with the song Amigo. The instrumental introduction features sudden silences before the voice enters.
A cappella music is a performance by a singer or a singing group without instrumental accompaniment, or a piece intended to be performed in this fashion. The term a cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato musical styles. In the 19th century, a renewed interest in Renaissance polyphony, coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists, led to the term coming to mean unaccompanied vocal music. The term is also used, rarely, as a synonym for alla breve.
A definition of music endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of defining what is meant by the term music. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate. A number of explanations start with the notion of music as organized sound, but they also highlight that this is perhaps too broad a definition and cite examples of organized sound that are not defined as music, such as human speech and sounds found in both natural and industrial environments. The problem of defining music is further complicated by the influence of culture in music cognition.
Orchestration is the study or practice of writing music for an orchestra or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra.
John Milton Cage Jr. was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.
Olivier Eugène Prosper Charles Messiaen was a French composer, organist, and ornithologist who was one of the major composers of the 20th century. His music is rhythmically complex. Harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material his early compositions and improvisations generated. He wrote music for chamber ensembles and orchestra, voice, solo organ, and piano, and experimented with the use of novel electronic instruments developed in Europe during his lifetime.
An octatonic scale is any eight-note musical scale. However, the term most often refers to the ancohemitonic symmetric scale composed of alternating whole and half steps, as shown at right. In classical theory, this symmetrical scale is commonly called the octatonic scale, although there are a total of 43 enharmonically non-equivalent, transpositionally non-equivalent eight-note sets.
Listening is giving attention to a sound. When listening, a person hears what others are saying and tries to understand what it means.
A caesura, also written cæsura and cesura, is a metrical pause or break in a verse where one phrase ends and another phrase begins. It may be expressed by a comma (,), a tick (✓), or two lines, either slashed (//) or upright (||). In time value, this break may vary between the slightest perception of silence all the way up to a full pause.
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. Additionally, they can take form as commentary to a statement, an answer to a question or repetition of a phrase following or slightly overlapping the initial speaker(s). It corresponds to the call and response pattern in human communication and is found as a basic element of musical form, such as the verse-chorus form, in many traditions.
4′33″ is a three-movement composition by American experimental composer John Cage. It was composed in 1952, for any instrument or combination of instruments, and the score instructs performers not to play their instruments during the entire duration of the piece throughout the three movements. The piece consists of the sounds of the environment that the listeners hear while it is performed, although it is commonly perceived as "four minutes thirty-three seconds of silence". The title of the piece refers to the total length in minutes and seconds of a given performance, 4′33″ being the total length of the first public performance.
A hum is a sound made by producing a wordless tone with the mouth closed, forcing the sound to emerge from the nose. To hum is to produce such a sound, often with a melody. It is also associated with thoughtful absorption, 'hmm'.
A rest is the absence of a sound for a defined period of time in music, or one of the musical notation signs used to indicate that.
Graphic notation is the representation of music through the use of visual symbols outside the realm of traditional music notation. Graphic notation became popular in the 1950s, and can be used either in combination with or instead of traditional music notation. Graphic notation was influenced by contemporary visual art trends in its conception, bringing stylistic components from modern art into music. Composers often rely on graphic notation in experimental music, where standard musical notation can be ineffective. Other uses include pieces where an aleatoric or undetermined effect is desired. One of the earliest pioneers of this technique was Earle Brown, who, along with John Cage, sought to liberate performers from the constraints of notation and make them active participants in the creation of the music.
Cantus in Memoriam Benjamin Britten is a short canon in A minor, written in 1977 by the Estonian composer Arvo Pärt, for string orchestra and bell. The work is an early example of Pärt's tintinnabuli style, which he based on his reactions to early chant music. Its appeal is often ascribed to its relative simplicity; a single melodic motif dominates and it both begins and ends with scored silence. However, as the critic Ivan Hewett observes, while it "may be simple in concept...the concept produces a tangle of lines which is hard for the ear to unravel. And even where the music really is simple in its audible features, the expressive import of those features is anything but." A typical performance lasts about six and a half minutes.
A fermata is a symbol of musical notation indicating that the note should be prolonged beyond the normal duration its note value would indicate. Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is common. It is usually printed above but can be occasionally below the note to be extended.
Evolutionary musicology is a subfield of biomusicology that grounds the cognitive mechanisms of music appreciation and music creation in evolutionary theory. It covers vocal communication in other animals, theories of the evolution of human music, and holocultural universals in musical ability and processing.
Biomusic is a form of experimental music which deals with sounds created or performed by non-humans. The definition is also sometimes extended to include sounds made by humans in a directly biological way. For instance, music that is created by the brain waves of the composer can also be called biomusic as can music created by the human body without the use of tools or instruments that are not part of the body.
The Symphony No. 3 is the third symphony by the Scottish composer James MacMillan. The piece was first performed on April 17, 2003 in NHK Hall, Tokyo, by the NHK Symphony Orchestra under the conductor Charles Dutoit.
Méditations sur le Mystère de la Sainte Trinité is a work for organ by the French composer Olivier Messiaen. It was composed from 1967 to 1969 at Messiaen's house in Pétichet.
↑ Macedonia, Joseph M. (1986). "Individuality in a contact call of the ringtailed lemur (Lemur catta)". American Journal of Primatology. 11 (2): 163–179. doi:10.1002/ajp.1350110208. PMID31979454. S2CID4839396.
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