Silence Studies

This article try to demonstrate how the silence takes shape : it becomes a dangerous character against whom the narrator has to act. In The Children’s Chamber, the silence is at first an ally, helping the young Georges to resist to the other children who want him to talk. Then it becomes a dangerous character who takes more and more space : the adulte who spies the children from the begining of the novel has to interrumpt their game in order to stop the silence.

Richard Wright's Native Son has often been read as a socially-oriented text, seemingly neglecting its existence as a literary construct. Such readings gear towards identifying the text with such societal ills as racism and environmental impact on the individual, as if these are the only business of the text.In this paper, however, attention shifts from such external referents to the text itself, deconstructing the meaning of blindness already ascribed to the text as well as the meaning of silence as it is denotatively known. The uncovering of the textual meaning of each of these concepts will also serve either to compliment a character or to disparage same, and then the interweave of both concepts will result in reading the text as a tragedy. This study will be anchored on the provisions of Derrida's deconstructive criticism.

Glaubt man den gängigen Drehbuchtheorien, gibt es insgesamt nicht mehr als zwanzig universale Geschichten zu erzählen, deren Variationen mit unermüdlichem Drang stets neu aufgerollt werden. So lassen sich jeder Handlung Grundthemen wie Suche, Abenteuer, Verfolgung, Rivalität, Versuchung, Metamorphose, Liebe, Grenzerfahrung u.a.m. zuordnen. 1 Zu den altbekannten Mustern von Handlungsverläufen lassen sich kaum neue hinzu erfinden, sodass die (Film-)Kunst ihren Fokus zunehmend von der erzählten Geschichte auf die jeweils angewandten Erzählstrategien verschoben hat. Wirft man einen Blick auf das internationale Autorenkino der letzten Jahrzehnte, lässt sich eine Tendenz ausmachen, die sich ganz augenscheinlich vom episch-narrativen Handlungsfilm hin zu einer selbstreflektierenden Filmsprache entwickelt. Verstärkt werden Sehkonventionen hinterfragt und alte Geschichten auf ungewohnte Weise inszeniert. Wird das Interesse vom Inhalt auf die Form gelenkt, tritt das Medium selbst in Erscheinung und wird als solches auf seine spezifischen Möglichkeiten der Darstellung untersucht. 2 Die ursprüngliche Bezeichnung für ‚Filmen' lautet Kinematographie, eine Ableitung des griechischen Wortes kinema für Bewegung. In der Abgrenzung von anderen Kunstformen wie der Fotografie, behauptet sich das ‚Wesen' der sogenannten siebten Kunst durch den Reiz der bewegten Bilder. I. Die nonverbale Sprache des Films I.I Lakonie und Verfremdung bei Roy Andersson Ein alter Mann schlurft mithilfe eines Rollators die Straße entlang, er zieht einen Dackel hinter sich her. Dass das Tier in seine Leine verwickelt, auf dem Rücken liegend, über den Gehsteig geschleift wird, bemerkt er nicht. Alles, was man hört, ist das klägliche Winseln des Hundes. In einer der nächsten Szenen des Episodenfilms DAS JÜNGSTE GEWITTER (2007) werden wir 1 Vgl. Ronald TOBIAS, 20 Master Plots (and how to build them), Cincinnati 1993. 2 Vgl. Marcus STIGLEGGER, "Die Traumzeit der Liebenden", in: Roman Mauer (Hg.), Wong Kar-Wai. Filmpoet im Hongkong-Kino (Film-Konzepte, Heft 12), München 2008, 73-81, 73. 2 Zeuge, wie eine beleibte Frau, nur mit einem Pickelhelm "bekleidet", mit einem dürren Mann kopuliert und den Akt mit lautem Stöhnen zu genießen scheint. Er hingegen schaut, teilnahmslos unter ihr auf dem Bett liegend, in die Kamera und beschwert sich über seine schlecht laufenden Finanzinvestitionen. Schnitt. Ein Mann sitzt im bürgerlichen Wohnzimmer und schaut in die vollkommen statische Kamera. Wie in den meisten anderen Szenen gibt es keinerlei Kamerafahrten und keine Nahaufnahmen. Übersichtlich und streng durchkomponiert präsentiert sich der Raum in milchigen, ungesättigten Farben. Die offenstehende Wohnzimmertür verleiht dem tableau vivant Tiefe, das hereinfallende Licht des Flures verbreitet einen leuchtenden Schimmer und verweist auf die Anwesenheit weiterer Personen. Der Mann sitzt still, nichts passiert, bis sich ein kurzer Dialog zwischen ihm und einer Frau, die kurz in der Tür erscheint, ergibt. Sie: "Es ist schon fast halb sechs!" Er: "Ja, was soll ich dazu sagen?" Schweigen. Er: "Schön, schön!" -Ende der Szene. Der skandinavische Regisseur Roy Andersson zeigt uns in seiner Komödie in zahlreichen Varianten Szenen gescheiterter Kommunikation, die man aufgrund ihrer vollkommenen Absurdität so selten in Filmen zu sehen bekommt. Die Reglosigkeit der Kamera, die kaum merklich einige Male doch heranzoomt, die triste, in nebeligtrübe Farben getauchte Kulisse sowie das starre, reduzierte Spiel der Darsteller schaffen eine trostlose Atmosphäre. Die Protagonisten der nahezu fünfzig Episoden verharren in der vollkommenen Tristesse eines surrealistisch verfremdeten Göteborgs. Oft befinden sich die Figuren bereits bei Aufblende der Szenarien wie festgewachsen in ihrer Position, meist mit Blick auf den Zuschauer. Roy Andersson unterläuft gängige dramaturgische Erwartungen, indem er das Geschehen im Vordergrund auf ein Minimum reduziert. Seine Figuren haben sich nichts mehr zu sagen, hören einander nicht zu, missverstehen sich und schweigen sich an. Grüppchenweise und apathisch, jedoch nicht unbedingt schlecht gelaunt schlurfen, warten, starren Anderssons Figuren vor sich hin und scheitern an der alltäglichsten Kommunikation. Die inhaltslosen und oftmals völlig befremdlichen kurzen Wortpassagen führen die Sprache ad absurdum, sodass der Zuschauer dazu angeregt wird, seine Aufmerksamkeit verstärkt auf die musikalischen und bildgestalterischen Filmmittel zu richten, um einen Zugang zum Geschehen zu finden. Die bewegungslose Kamera schafft hierbei durchkomponierte, an Edward Hopper erinnernde Bildnisse und lässt durch ihre große Schärfentiefe dem Rezipienten die Wahl, sein Augenmerk 3 ebenso auf kleine narrative Details im Hintergrund zu lenken: Bei einer Hinrichtung konsumiert ein teilnahmsloses Publikum Popcorn; die Silhouette einer Altenpflegerin lauscht schweigend dem erfolglosen Gesprächsversuch einer Frau mit ihrer dementen Mutter; eine Straßenbahn fährt laut Plakette Richtung Lehte. 3 Nicht selten verstörend, erlangen die monotonen Szenen durch visuelle Fingerzeige wie diese eine doppeldeutige Schärfe, die sich kaum noch mithilfe eines gängigen Rezeptionsverhalten erfassen lässt. I.II Aki Kaurismäkis lakonische Werke Als Verweigerung üblicher Erwartungshaltungen der Zuschauer durch ein filmisches Erzählen der "Langsamkeit, Ereignislosigkeit und Sprachlosigkeit" 4 beschreibt Natalie Binczek auch das Werk eines anderen skandinavischen Filmemachers. Aki Kaurismäki, der sich gerne selbstironisch bei den internationalen Filmfestivals als betrunkener Kauz inszeniert, steht gleichermaßen wie seine Filme für das Finnische an sich. Doch lässt sich sein Werk nicht allein auf ein nordeuropäisches Klischee von versoffener Trostlosigkeit, Melancholie und Wortkargheit reduzieren. Seine Filme sind geprägt durch eine klare und asketische Formsprache, die eine Ästhetik der Reduktion vertritt, und sie werden nicht selten als Inspiration für Andersson heranzitiert. 5

In response to Kristallnacht, the world was _not_ silent.  On the contrary, outrage and condemnation were widely expressed in newspapers and government statements.  It didn't matter.  I suggest that "one can argue that speaking out – at least from the safe distance of a newspaper or government office – can serve as a diversion from meaningful action. Condemnation, especially moralistic condemnation, easily fosters the illusion of “doing something.” After which, with clean conscience, one can return to not doing anything."

The work of Toshio Hosokawa (born 1955 in Hiroshima) exemplifies a connection between silence and the sphere of the sacred which is characteristic of Far East cultures. The goal of this paper is to determine the role of silence in the work of Hosokawa in the light of Japanese tradition, with particular reference to Zen Buddhism. The article discusses chosen aspects of the composer’s oeuvre already mentioned in the research, but present also in theoretical and aesthetic texts, interviews and commentaries provided by the composer himself. These elements are, inter alia, traditional Japanese music (gagaku, shōmyō, shakuhachi music), calligraphy, dō arts, ma principle, breath, and the nonlinear model of time or the concept of emptiness.

L'article aborde la manière dont le roman Le Ravissement de Lol V. Stein de Marguerite Duras rend compte de l’absolu, se construisant depuis et autour de cette entité, et aménage paradoxalement, de par cet ancrage, le silence comme noyau langagier. Il est ainsi question de mettre en lumière la façon dont l’œuvre tend irrémédiablement vers le silence, celui propre au rêve, à la contemplation, en démontrant qu’il y a un vrai cheminement vers le silence qui est opéré dans le texte et que celui-ci vient en infléchir les structures fondamentales (espace, temps, personnages, narration).

Lien vers l'article, publié en ligne (revue Postures) : http://revuepostures.com/fr/articles/lahouste-28

// PLAN :
> Fragmentation, illimitation, déterritorialisation
> Non-savoir et fantasmagories
> Vers le silence

A bakhtinian approach to discursive study about silence. Firstly, the paper makes a historical discussion of the author´s concept, since his doctoral thesis. Afterwards, some assumptions are presented and, finally, the concept of silence in a bakhtinian way is detailed.

In conversation with Arvo Pärt Enzo Restagno rightly noted: ‘I believe that a real point of contact between Japanese musical tradition and your music is to be found in the role that silence plays in both.’ Indeed, the comparison of musical aesthetics of Pärt and Toshio Hosokawa, who represents the musical tradition of Japan, do exhibit many surprising similarities. Neither of them would see silence as absence of sound. It constitutes an important element of thinking about music and creating the pieces. For both of them silence may be connected with the sphere of the sacred, the non-linear model of time, the practice of meditation (metaphors of breath) and concentration. The last one is something they practice as composers while writing music, and something they expect from performers and listeners of their pieces. Both artists entitled their entire works or parts of some compositions making some references to silence. It is important, however, to remember the difference in perception of silence by the traditions to which the composers ascribe to (Hesychasm and Zen Buddhism).

Motivational interviewing (MI) is an increasingly prominent behavioral therapy that draws from and claims to synthesize two American therapeutic traditions long thought to be antithetical—“client-centered” and “directive” approaches. This paper proposes that MI achieves its hallmark “client-centered directiveness” through the aesthetic management of the therapeutic encounter, and more particularly, through MI practitioners’ marked use of silence. Drawing on data collected during the ethnographic study of MI trainings and the formal analysis of video-recorded MI sessions that are commonly used as models in such trainings, we identify three patterns of pause that regularly fall at specific grammatical junctures within seasoned MI practitioners’ turns-at-talk. We demonstrate how these pauses allow MI practitioners to subtly direct the conversation while simultaneously displaying unequivocal signs of client-centeredness. In other words, we show how and explain why the poetics of pause matter to MI. In presenting this case, we more generally highlight practice poetics—that is, the aesthetic management of the style and delivery of a professional message with a particular practical aim in mind—suggesting that this is a central if under-appreciated aspect of therapeutic practices.

I recalled [the deported Jews] because of my friend Jankiel Wiadecki, who remained stuck in my head forever. I often tell my wife and children about him, about the conversations we used to have, about how it used to be. We liked each other […] And he would tell me: you know what, Adam, I won't abandon the children, no matter what. And we said our goodbyes and that was it. They took them soon after that. Apparently, he went with the children. They destroyed him. That's it. And I said to myself: I need to have a reminder of him. And I made one.

Mistyczny wymiar ciszy stanowi przede wszystkim przedmiot doświadczenia, ale też zainteresowania artystów czy naukowców (zwłaszcza teologów, filozofów oraz psychologów religii). Zwraca na to uwagę już Izydora Dąmbska (1904-1983), kierownik katedry filozofii Uniwersytetu Jagiellońskiego w latach 1957-1964, jedna z pierwszych polskich autorek, które podjęły problem milczenia 1 , jego pojemności znaczeniowej oraz typologii. Dąmbska uznaje milczenie za integralny składnik mowy (definiowanej jako "wyposażony w znaczenia system znaków głosowych lub pisanych, a kierowanych do kogoś" 2). Podkreśla jego wieloznaczność, różnorodność funkcji, jakie może pełnić, a także fakt, że zrozumiałe staje się ono dopiero w pewnym kontekście-jest zatem "wyrazem niesamoistnym" (określenie Dąmbskiej). Odnosząc to do muzyki, można stwierdzić, że pauza (podstawowy, choć nie jedyny wymiar ciszy muzycznej) staje się czytelna dopiero w kontekście dźwięków, jakie ją otaczają. Autorka stwierdza nawet, że "nie przestaje wygrywać melodii pia-Z kolei we fragmencie kompozytorskiego komentarza do jednego z utworów Katalogu ptaków (V. Puszczyk) czytamy: Cisza, gdzieś dalej pohukiwanie, niczym jakiś dzwon z innego świata… 43 Cisza rozumiana jako jeden z odgłosów natury (poza śpiewem ptaków i innymi naturalnymi brzmieniami) staje się zarazem metaforą ciszy niebiańskiej. Kompozytor powraca do tej idei "harmonijnej ciszy nieba" w przedmowie do cyklu na dwa fortepiany Wizje Amen (Visions de l'Amen, 1943), gdzie łączy ją z najwyższym sensem pojęcia pragnienia. W słowie wstępnym do części czwartej, Amen du Désir, Messiaen pisze: 40

In their recent studies Barbara Newman and Cecila Panti have stressed the importance which the theme of voice assumes in the thought of Hildegard von Bingen. In the second book of Scivias, Trinity is described metaphorically by using the image of verbum as divided into sonus, vis and flatus. Adam solves the role of "operarius divinitatis" by giving names to the beasts and plants of Eden, thus bringing the Creation to perfection. In this context, silence is thought to represent the status of fallen mankind: it is the space and time of sin, the denial of singing praises to God. In Ordo virtutum, Hildegard doesn't allow Devil to sing as Virtues do. As established by the long tradition of medieval music theory which she follows, Diabolus cannot take part to the harmony of celestial spheres: he is condemned to clamor, trying to silence the Soul. In this paper, I would define the main features of Hildegard's theology of music as they emerge from her three major prophetical writings. Then, I would offer an analysis of two pieces taken respectively from her two musical compositions, Ordo virtutum and Symphonia armoniae caelestium revelationum. This will give interesting insights of the way the contrast between silence and voice structures the construction of Hildegard's prophetical identity. The model proposed by the abbess finds no parallels in the thought of the 12 th Century, and enriches the anthropological reflection developed at Chartres and Saint-Victor.

This article analyses the modern vision of silence and its representation in Valère Novarina’s “holed writing”. His “verbal drama” aims todeprive the language of its communicative utilities and to restore its autonomy and theatricality, through the silence of structure and the silence of meaning. The Novarina’s silence, destined for the stage and the space, is manifested in the word itself, in the act of speaking, and in the breath.

"This book explores the phenomenon of silence in schools, considering a wide range of its appearances and uses. Starting from a discussion of the negative and coercive aspects of silence in schools, the discussion moves quickly onto examples of how silence in school environments generates a positive influence in the education of children.

Silence is currently undervalued as a pedagogical tool. Nevertheless it is cost-free and educationally significant. The discussion in this book covers some of the ways in which silence is currently being used in schools through the introduction of meditation, quiet spaces and silent moments and how such uses are enhancing and affecting school experience. The explorations in the book also consider how awareness of silence can be developed to change school cultures, notably towards more democratic and reflective practices.

This book is of interest to head teachers, classroom teachers, policy makers, educational researchers and parents. The conclusions drawn offer useful international applications and can be impactful in many different types of educational setting.

«Io sono innamorato della parola ‘lacuna’; parola squisitamente latina […] Nelle sue tre sillabe si condensa tutto ciò che di bello ed esem-plare ha per me l’antica lingua di Roma: robustezza, pregnanza sonora e semantica, e una capacità di echeggiare per lunghe distanze» (p. 3). «La lacunosità, strutturando l’insieme in un ordine coerente, fornisce un antidoto contro la morte. Ecco la lezione di Orazio: la buona lette-ratura tiene a bada la fine, rinnovando il presente e con questo il pia-cere dell’essere qui e ora», Gardini (p. 79, a proposito dell’Ars poeti-ca).
Quelli citati sono due degli svariati passaggi che Nicola Gardini, docente di italiano e letterature comparate a Oxford, dedica alla lingua e alla letteratura latine nel suo ricco saggio einaudiano, dedicato so-prattutto (ma non solo) alla reticentia, al ‘non-detto’, all’omissione in-tenzionale in letteratura.

The question of attention in theatre remains relatively unexplored. In redressing this, Theatre and Aural Attention investigates what it is to attend theatre by means of listening. Focussing on four core aural phenomena in theatre - noise, designed sound, silence, and immersion - George Home-Cook concludes that theatrical listening involves paying attention to atmospheres.

Such matters are examined as they have arisen in some of the most sophisticated works of theatre sound design of recent years, including Sound & Fury's Kursk, Romeo Castellucci's Purgatorio, Complicite's Shun-kin and Robert Lepage's Lipsynch. In suggesting how theatre works to direct the audience's aural attention, the book also carries out an important enquiry into radio drama (Beckett's All That Fall, Embers, and Pinter's A Slight Ache).

This ground-breaking study will be of interest to drama students, sound theorists, practitioner-researchers, performance philosophers, and to anyone curious to explore what it means to attend theatre.

Ce travail s’intéresse à la place accordée au silence dans la littérature. Il vise à mettre en évidence les causes sociolangagières de l’intérêt qui lui est porté -un intérêt croissant depuis Mallarmé- et à rendre compte d’un ensemble de manifestations formelles participant de cette
esthétique. Nous entendons par « silence » l’absence de signifiant explicite, autrement dit le silence peut se manifester dans l’omission, dans l’espace, mais aussi dans tout environnement phrastique qui donne une valeur tacite, virtuelle à la proposition, au-delà du mot écrit et du texte
« brut ». Pour une exploration du XIXe au XXIe siècle, le corpus principal est constitué du recueil Poésies de Mallarmé, sur lequel nous nous appuierons pour parler de l’équivoque, d’une pièce de théâtre de Nathalie Sarraute intitulée Pour un oui ou pour un non, dont la partie
consacrée traitera de la prosodie, ainsi que de l’œuvre de Vincent Tholomé The John Cage Experiences, pour laquelle nous parlerons de l’influence de la musique et de l’intermédialité.En plus de permettre une vision diachronique de la thématique, ce corpus de textes permet
une analyse intergénérique où sont interrogées les particularités des genres et leurs ressemblances sur la question du silence, en mettant en évidence les contextes, styles et enjeux propres.

"লেখক জাগা আর ঘুমনোর তফাত করতে না পেরে আতান্তরে পড়েছেন. মুস্কিলআসান করতে মান্ডুক্যোপনিষদ পড়তে বসলেন. এবং ব্যাক্তিগত অভিজ্ঞতা-র বর্ণনা দিতে গিয়ে কর্মের তত্ত্ব ব্যাখ্যা করলেন. শেষ করলেন লালন এর উদ্ধৃতি দিয়ে. এইভাবেই এক হয়ে গেল তথাকথিত  উঁচু আর নিচু-র দর্শন.

This paper discusses three types (excluding the fourth one introduced by Abhinavagupta) of sleeping as depicted in Mandyukoponisad in connection with the three states or gradations of falsehood. The author of the paper follows kalidas Bhattacharyay’s commentary in this regard.
What is to be mentioned here that there here are four types of “languages” in association with the sleeping/waking states: baikhari (speaking in waking-state[jagrat] with arbitrary ephemeral epi-phenomenal utilitarian sign-systems, falsest state), madhyama (speaking in falser dream-state or svapnavastha), pasyanti (unspeaking in a deepest sleeping-state or susupti; false-state) and paravak (‘para’ means ‘beyond’ and ‘vak’ is speaking); this transcendental unspoken and unspeakable zone is to be achieved by practicing certain formal or non-formal techniques to be found within the body. It is neither true nor false, but we cannot describe it by means of baikhari, madhyama etc. It is something “beyond” logos and not related to “God” per se. Supreme God is perceived in deep dreaming, i.e., a false state). At this level, silenceme would gulp down non-silenceme. What is to be mentioned here is that the different body-parts and channels within the corporeal are related to these four states of (non-/) speeches.
The ultimate goal is to achieve such paravak with the help of our own body without deploying any formal method. Cessation of desired labor is to be desired here—a typical non-contradictory contradiction or aporia. Subject-object-merger occurs with identity in difference as small i is (not) merged with the big I. However, we have to “return” to the practical world after achieving that (….) for the sake of “lokosamgraha” (roughly speaking, social commitment/engagement). We have to tell the stories of paravak, supposed meta-zone of silenceme, by means of subtle baikhari to other. Thus the problem of karma (work/labor and its subsequent divisions: pravritti, nivritti, sakam, niskam-- the work with desire and non-desire)is also discussed here.
Downloadable document is in Bengali.

Number of Pages in PDF File: 15

Keywords: three states or gradations of falsehood, baikhari (speaking in waking-state[jagrat] with arbitrary ephemeral epi-phenomenal utilitarian sign-systems, falsest state), madhyama (speaking in falser dream-state or svapnavastha), pasyanti (unspeaking in a deepest sleeping-state or susupti; false-state),

The aim of this study was to explore how participants experience silence within the therapeutic setting, as well as their past and training experiences of silence. Data was collected via the participants’ discourse, during semi-structured interviews. Seven participants took part in the study. The data was analysed using Thematic Analysis (TA). Five themes were identified in the analysis: felt experience; the cognitive experience; silence as a control mechanism in childhood; silence taught as a therapeutic skill and silence seen as adding to the therapeutic process. The theme of cognitive experience contained the sub themes of power and control and internal dialogue. Therapists typically believed that silence was a useful phenomenon, which they became more comfortable with as they gained more experience. The findings further showed that their past experiences and training played a part in their use of silence.

Forming a family and having children constitutes an adulthood rite of passage, one of the tacitly assumed requirements of a fulfilled life. What happens, then, when the "family dream" does not materialize? This article addresses the dark sides of the "family imperative" by focusing on representations of involuntary childlessness (i.e. childlessness not by choice) in film. It advances the argument that popular culture, far from being "mere entertainment" has an important role in wider processes of stigmatization, silencing and, as a result, exclusion of those who do not have a family. The analysis, which is informed by a broader study into the structure of silence surrounding childlessness, presents the findings of a comparative qualitative content analysis that examined the (troubling) representations of involuntary childless individuals in 50 films from Italy, Norway, the US. It discusses their far reaching cultural and political implications, making practical suggestions to counter their stigmatizing effects.

"Arvo Pärt is a contemporary sacred composer who is recognized for developing what he has referred to as the ‘tintinnabuli’ compositional technique. His tintinnabuli technique has led him to great success both in and outside of the Classical music world. Although a self-professed Orthodox Christian (to which he converted in 1972), he has composed choral works for Catholic, Orthodox, and Anglican services.

In the year 2000, Pärt composed the work Orient and Occident for string orchestra. The work is a wordless tintinnabuli setting of the Nicene-Constantinopolitan Creed. Its idiosyncratic use of dissonance, string techniques, and modal vocabulary is atypical of his tintinnabuli works. Several reviews suggest that Orient and Occident shares similarities with Near-Eastern music, or the characteristics of Islamic cantillation. Throughout Pärt’s compositional career, he has declined to comment in depth on his own spirituality, and he has left it to his audience to draw their own conclusions. He has suggested letting the music “speak for itself,” as a symbol to convey his own inner spiritual thoughts. I suggest that Orient and Occident is an exposition of his own inner Orthodoxy, and a musical mediation of his Orthodox faith in relation to other faiths, Christian or otherwise.

This thesis considers the ways in which we view Pärt as mediator for sacred music in a secular, postmodern environment, through Orient and Occident and historical perspectives of the icon in Byzantine Orthodox traditions. It examines the broader connotations of Pärt, the icon, and spirituality; providing insights into his 2010 performance in Istanbul. It examines the ‘aural architecturality’ of tintinnabulation, through hermeneutic and phenomenological theories surrounding iconography and light mysticism. It tackles the notions of ‘catholicity’ and ecumenicity with which the world has come to know Pärt; from the lens of his Orthodox faith, and extending outwards across geographical, cultural, political, and spiritual borders."

How to cite:  Syroyid Syroyid, B. (2018). The Silence Devices of Bill Evans's 1963 Solo Session: April in Paris, All the Things you are, and Ornithology. In A.Benetti, F. Monteiro & J. Salgado Correia (Eds.) Abstracts of the Research Hands on PIANO - International Conference on Music Performance (p. 32). University of Aveiro
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Bill Evans (1928-1980) was one of the most influential jazz pianists of the 20th century. Jazz musicians often study Bill Evans’s harmonic innovations through the transcription of his recordings. We will be using transcriptions by William Hughes (2017); however, the object our study will be silence, defined as an intentional refraining from producing sound. Bill Evans made frequent usage of silence devices in his improvisations, which are especially noticeable in his solo recordings. We will be looking at the piano session recorded on January 10, 1963, released posthumously in two separated albums as ‘The Solo Sessions, Vol.1’ (1989), and ‘The Solo Sessions, Vol.2’ (1992). With the intention of conducting a deeper analysis on the most significant material, we have selected only three tracks: ‘April in Paris’ (vol. 1/1), ‘All the Things You Are’ (vol. 2/1), and ‘Ornithology’ (vol. 2/6).

Le droit français ignore le crime d’inceste. La pédocriminalité, la maltraitance des enfants et la transgression du tabou de l’inceste paraissent ne relever que de la criminalité ordinaire.
Des journalistes travaillant loin de l’émotion médiatique, des psychologues confrontés au quotidien de la souffrance enfantine, nous révèlent que ces crimes, loin de n’être que le reflet d’une détresse économique et sociale, touchent toutes les couches de nos sociétés. Des affaires étouffées, des signalements qui avortent, autant de faits traduisant un profond malaise collectif.
L’auteur énonce les mystifications qui entourent le crime d’inceste ; il propose différentes approches novatrices et dénonce ce crime contre l’humanité.
Ce livre édité en 2006, épuisé en édition papier, est malheureusement toujours d'actualité.
Le tome 2 paraîtra début 2018.

Silence has been studied in relation to basic cultural parameters, such as high/low context, collectivism/individualism, masculinity/femininity, high/low power distance. Thus, silence in Japan has often been attributed to the high context, collectivism, masculinity and high power distance in the Japanese society. However, in the cross-cultural comparison between Finland and Japan it becomes clear that Finland is an individualist culture with low power distance, low context of culture and high femininity. Yet, there are similarities in the way silence is perceived, used and appreciated in the two countries. Thus, this paper claims that no dichotomies, as the above mentioned characteristics, can comprehend such a complex phenomenon as silence. This is why the paper proposes three main hypotheses. According to the first one, silence can dawn in societies, where a special emphasis is put on listening. According to the second hypothesis, the preference for silence might be generated by the high value attributed to privacy in Finland and Japan. The choice of privacy might also be related to a special sensitivity to communication feedbacks, 'face saving' and communication apprehension in certain communication situations. And according to the third hypothesis, silence can also be triggered by emotions, which are both individual and universal and which are not necessarily culture specific. This is the way silence has been used by various religious and spiritual traditions. This is the case also of the Japanese Zen Buddhism where silence is perceived as an existential and transcendental phenomenon. The latter can only be attained and realized experientially.

The author, as a member of linguist community, of this paper had tried decipher one song of Fakir Lalon Shah (1774–1890 A.D.), one of the line of which is like this “ When silence would swallow non-silence” by deploying various methods of Mandyukoponisad, Bhatrihari’s three stages of languages (baikhari, madhyma, pasyanti) and Abhinavagupta’s paravak. Different body-parts, according to Tantrika world-views, were also illustrated to understand silenceme. The author also incorporated Kabir (1440–1518 A.D.) and Dadu’s (1544–1603 A.D.) epistemological concepts of silenceme, which were beyond the periphery of ‘modern’ linguistics, though physicists are now interested to know the brain-function of such meditative states by using SPECT and PET scan as a part of their anatomo-bio-political agenda. The author ultimately proposed a new disciplinary technology, called “Silence Studies”. In this case, John Cage’s musical compositions deeply influenced the author.

English version is available at : http://www.sahapedia.org/non-linguistics-of-silenceme-lalon

How to cite:  Syroyid Syroyid, B. (2018). Analysis of the Constructive Functions of Notated and Acoustic Silences in Béla Bartók's Fifth String Quartet, First Movement, Allegro. In R. Parncutt and S. Sattmann (Eds.) 15th Internacional Conference on Music Perception and Cognition. 10th Triennial Conference of the European Society for the Cognitive Sciences of Music. University of Graz (Austria), National University of La Plata (Argentina), University of New South Wales (Australia) & Concordia University (Canada).
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Most analyses of Bartók’s Fifth String Quartet concentrate primarily on the thematic and harmonic relationships of various themes that are part of a palindromic sonata form (see Bates, 1986; Klefstad, 2000). However, this piece has a striking and characteristic silence usage that is worthy of a deeper examination. For this, both score and audio recordings will be analyzed revisiting some of the silence theories of Braman (1956), Dougherty (1979), Gaudibert (1995), Margulis (2007) and Yin Lo (2015). The main goal is to explore the underlying musical processes that surround notated and acoustic silences in the first movement of Bartok’s Fifth String Quartet. Notated silences are limited to rests that appear simultaneously in all four parts. Acoustic silences are examined through the visualization of the waveform of two recordings and the identification of regions with low amplitude.

El silencio musical es un concepto que se extiende a lo filosófico, debido a la complejidad de su significación como un elemento vacuo. El trasfondo teórico del silencio en la música permite repensar a su vez el sonido, y abre sus dimensiones ontológicas, metafísicas, comunicativas y semióticas. Conforme a esto, son desarrolladas las funciones comunicativas y expresivas del silencio musical, estableciendo un análisis de las características de las diferentes tipologías de silencio musical existentes en los ámbitos musical y audiovisual. Las relaciones sustanciales entre silencio, música y filosofía describen de esta forma, una abstracción metafísica que trasciende como un fenómeno musical capaz de comunicar en relación con el sonido.

Musical silence is a concept that extends to the philosophical, due to the complexity of its significance as a vacuous element. The theoretical background of silence in music allow to rethink sound in turn, and open their ontological, metaphysical, communicative and semiotic dimensions. According to this, the communicative and expressive functions of musical silence are developed, establishing an analysis of the characteristics of the different types of musical silence existing in the musical and audiovisual fields. The substantial relations between silence, music and philosophy describe in this way, a metaphysical abstraction that trascends as a musical phenomenon able to communicate in relation with sound.

Mahalaga ang paggamit ng sariling wika sa kapuwa pasalita, at hindi pasalitâng pakikipag-ugnayan upang matamo ang kapanatagan ng kalooban. Ang pananahimik nga ay isang epektibong paraan upang mapalalim ang ugnayan sa sarili, sa kapuwa at sa Maykapal, at ito ay maisasakatuparan kapag mabisang naisakultura ang pananampalataya gamit ang wikang Filipino. Ngunit upang maging ganap ang kontekstuwalisasyon ng pananampalataya, kakailanganin ang kahandaan at pakikiisa ng bawat Filipino. Hámong nararapat pagsumikapan na magkaroon ng bukás na isipan, at malawak na pang-unawa upang ituring na mayaman ang sariling wika, at sa gayon buong pagtitiwala na gamítin ito nang lubusan sa pakikipag-ugnayan, at pagninilay, sa gitna ng ingay at pananahimik.

Quelle place pour les temps d'arrêt, les vides, les friches, l'ombre et le silence, la vacance et l'ennui, le mystère et les opacités dans une société du 24/7, de l'accélé-ration et de la transparence ? Quelles sont les dynamiques à l'oeuvre dans ce remplissage ? Quelles formes de citadinité se construisent et se recomposent dans ce jeu de saturations ? Quels sont les risques de cette saturation des temps, des espaces et des parts de cerveaux disponibles ? Quels impacts sur la santé, les organisations, les territoires et la démocratie ? Quelle place pour les invisibles et les territoires périphériques ? Quelles formes d'adaptations et de résistances ? Comment habiter ces saturations ? Jusqu'où doit-on remplir et densifier ? Quelles résistances et stratégies à l'échelle des individus, des communautés, des organisations et des territoires ? Comment improviser ? Qui sont les « creuseurs de trous » dans ces permanences et continuités ? Où sont les fêlés et les fêlures qui laissent passer un peu de lumière ? Face aux exigences de réduction des risques et de mise en garantie des qualités urbaines, comment penser les marges de manoeuvre et d'appropriation de la ville ? Quelle place laisser à la création, au lâcher prise, à la rencontre, à la non-organisation, aux émergences et aux joyeux « désordres » ? Enfin, comment imaginer une « rythmologie », un « urbanisme des temps », un « design des politiques publiques », voire une « écologie existentielle » ? Peut-on simplement penser politique et espace public sans écart ? Ce sont là quelques-unes des questions abordées dans cet ouvrage international et « indisciplinaire ».

What is the state of that which is not spoken? This book presents empirical research related to the phenomenon of reticence in the second language classroom, connecting current knowledge and theoretical debates in language learning and acquisition.

Why do language learners remain silent or exhibit reticence? In what ways can silence in the language learning classroom be justified? To what extent should learners employ or modify silence? Do quiet learners work more effectively with quiet or verbal learners? Looking at evidence from Australia, China, Japan, Korea, and Vietnam, the book presents research data on many internal and external forces that influence the silent mode of learning in contemporary education. This work gives the reader a chance to reflect more profoundly on cultural ways of learning languages.

for English version cf. https://www.academia.edu/8304542/_The_Movement_Within_A_Secret_Guide_To_Esoteric_Kayaasadhanaa_Caryaapada_

The author of this paper did not bother about the (a)formal linguistic analysis (meta-speaking on speaking, i.e. formal linguistics and philology) of the text of Caryapada (approx. 9th C A.D. A Tantric Buddhist text written in a sandhyabhasa or anti-language a la Halliday); (b) retrospective (pratyabhijna) construction of genealogical fantasy or linguistic statist identity or imagiNATION, instead he was proposing a secret guide to exquisite kayasadhana (the praxis within the body within the ambit of corporal studies)by following the path of Bhartrihari and Abhinavagupta’s post-formal non-analysis. The author followed Munidatta’s Sanskrit commentary of the Caryapada-text (written in an anti-language to hide the secrets of physiological (not in the Western medical sense of the term) points that is shaped and perceived by the world views of the so-called lower caste Tantric Buddhists)and that was commented in Sanskrit by Munidutta. This reciprocal discourse-exchange bi-way traffic) in between so-called H(igh)and L(ow) was also being observed by the author.
The paper ironically started with the salutation to the contemporary interpreters of the said text, though the author said that they are missing the world-views of the Tantric Buddhists as the contemporary scholar-interpreters did not link the perceptions of Tantric kayasadhana that is meant for ‘care of self’ (epimelia heatue). Only Shashibhusan Dasgupta (1969) discovered the secrets of the kaya(corporeal). Thus, the scholarship was condemned by the Caryapada-composers, who were considered to be ‘illiterate’ according the norms of literacy. Dasgupta(ibid) thus described the “illiterates’”(?) aversion to the recondite scholarship.
After that the author elaborated the rhetoric-terms (utpreksa/metaphor, comparison in general, vyaja/ having only appearance of, deceitful, false, simulated..) used by Munidutta to explain the surplus meanings of the texts. Even the author supplied the architectural details of Kakhar (female-shaped shrines) temples (Orissa) to explain the boat-utpreksa as used in Caryapada. Lastly, the author had linked the cakras (so-called Hindu and Buddhist systems were amalgamated here—a case of syncretism) with different stages of speeches/non-speeches (a trajectory from parole to silenceme) and sleeping/non-sleeping to reach the point of “vakpathatia” (cf. caryapada, 37 a cordoned zone of silenceme or paravak) in a tabular form with illustration. One point must be noted: the authors selfhood as a scientist was condemned here by the author himself as he criticized (a) the recent neuro-physicists’ anatomo-bio-political intervention into in body of the sadhakas/ practitioners; (b) the gap between theory and praxis as it was found in recondite scholarship. Thus the paper was an addition to the author’s agenda of introducing two novel disciplinary technologies: Silence and Corporal studies.

The silence in Beckett’s plays can be interpreted in many different ways. It often shows the anxiety of the characters faced with the vacuity in their lives. Left to themselves, they hardly manage to let go during these recurring silences (marked in an obsessional way in Beckett’s texts with the word "pause" as an absolute punctuation in the theatrical language). So they really feel the silence as the "arising of nothingness ", a sort of gateway to finitude. This silence is also the one appearing among Beckettian couples to reveal the aporia in language: inability to communicate, "doing" instead of (impossible) "saying". This Beckettian "doing" is shown in a conspicuous gestuality which conveys a certain materiality to this silence as well as it tries desperately to fill it. Thus Beckett’s characters act and give silence some substance, incarnating therefore a full-fledged character. Finally, silence can also embody the religious, at least the expectation (of the divine? in Godot particularly?). This silence grows solemn and reveals a suspension in the speech and characters in search of a follow-up. Silence then becomes the opening of an area where everything is possible since nothing has been said yet, implicitly expressing fantasies of joy and salvation.

The Tale of the Eloquent Peasant, a narrative centered on the power of discourse, remarkably mentions silence in numerous and plot-significant passages, providing it with several different connotations. Alluding, each time, to indifference, repression, even death; or, conversely, to justice and proper behavior, the weight of such a term in a text hinged on the concept of maat is not fortuitous – silence and its value being one of the recurring themes in wisdom literature. By directly comparing these instances from the Tale and matching excerpts from the Teachings and other contemporaneous narratives, it is  possible to bring out a composite pattern of references and considerations concerning the value of silence and the problems of communication.

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Tropes are generally understood to be fi gurative representations that invoke cultural understandings other than would be understood were the representations to be regarded in a prosaic and literal fashion. Symbolic expression, metaphor, metonymy, and other devices through which something represents or stands for something else have been explored by anthropologists almost since the beginning of the discipline. A revival of interest in this work in the last decade is due in no small part to the inspired work of James Fernandez (1986, 1991).

Most work with tropes has involved either linguistic or visual representation.With regard to language, emphasis has been placed on semiotic representation through discursive form. What has rarely been treated in anthropology, even regarding language, are tropic sound structures. Of course, the most developed sound structures in any society aside from language are musical structures.

This chapter deals with tropes in music, emphasizing the ways in which
music can reflect symbolic meanings external to the music itself.

The paper discusses Derrida's concept of hospitality which perfectly describes the experience of loosing the sense of feeling at home and reveals the disintegrating entrance of the Otherness into a coherent home space. Jacques Derrida's theory makes it possible to deconstruct the familiar home space, which, however, does not constitute in any case its destruction. Revealing a complex and ambiguous nature of the challenge of hospitality, he perceives the sense of feeling at home as one of the necessary conditions of a stable subject. This is the subject that most fears the Otherness which could disrupt, unsettle their permanent structure and a sense of certainty. Therefore, the Author follows closely the fear of strangeness and the nostalgic longing for the sense of feeling at home as depicted by David Lynch and Michael Haneke in their films. Then he passes on to the field of contemporary art which not only reveals the fact that something has happened to the house we have known so far, but it also allows for creative deconstruction of the feeling at home. The artistic works selected by the Author break the binary oppositions: one’s own/someone else’s, familiar/strange (Jessica Sue Layton), close/distant (Shizuka Yokomizo) and finally the most important one: interior/exterior (Marja Pirilä, Eve Dent).

For Bangla Version cf. http://www.academia.edu/1510167/In_Search_of_Linguistics_of_Silence_Caryapada_%E0%A6%9A%E0%A6%B0_%E0%A6%AF%E0%A6%BE-%E0%A6%9A%E0%A6%B0_%E0%A6%9A%E0%A6%BE%E0%A6%AF%E0%A6%BC_%E0%A6%A8%E0%A7%80%E0%A6%B0%E0%A6%AC%E0%A6%A4%E0%A6%BE%E0%A6%B0_%E0%A6%AD%E0%A6%BE%E0%A6%B7%E0%A6%BE%E0%A6%A4%E0%A6%A4_%E0%A6%A4_%E0%A6%AC_%E0%A6%B8%E0%A6%A8_%E0%A6%A7%E0%A6%BE%E0%A6%A8_%E0%A6%89%E0%A6%AA%E0%A6%95_%E0%A6%B0%E0%A6%AE%E0%A6%A8%E0%A6%BF%E0%A6%95%E0%A6%BE

English abstract

The author of this paper did not bother about the (a) formal linguistic analysis (meta-speaking on speaking, i.e. formal linguistics and philology) of the text of Caryapada (approx. 9th C A.D. A Tantric Buddhist text written in a sandhyabhasa or anti-language a la Halliday); (b) retrospective (pratyabhijna) construction of genealogical fantasy or linguistic statist identity or imagiNATION, instead he was proposing a secret guide to exquisite kayasadhana (the praxis within the body within the ambit of corporal studies)by following the path of Bhartrihari and Abhinavagupta’s post-formal non-analysis. The author followed Munidatta’s Sanskrit commentary of the Caryapada-text (written in an anti-language to hide the secrets of physiological (not in the Western medical sense of the term) points that is shaped and perceived by the world views of the so-called lower caste Tantric Buddhists) and that was commented in Sanskrit by Munidutta. This reciprocal discourse-exchange bi-way traffic) in between so-called H(igh)and L(ow) was also being observed by the author.

The paper ironically started with the salutation to the contemporary interpreters of the said text, though the author said that they are missing the world-views of the Tantric Buddhists as the contemporary scholar-interpreters did not link the perceptions of Tantric kayasadhana that is meant for ‘care of self’ (epimelia heatue). Only Shashibhusan Dasgupta (1969) discovered the secrets of the kaya (corporeal). Thus, the scholarship was condemned by the Caryapada-composers, who were considered to be ‘illiterate’ according the norms of literacy. Dasgupta (ibid) thus described the “illiterates’”(?) aversion to the recondite scholarship.

After that the author elaborated the rhetoric-terms (utpreksa/metaphor, comparison in general, vyaja/ having only appearance of, deceitful, false, simulated..) used by Munidutta to explain the surplus meanings of the texts. Even the author supplied the architectural details of Kakhar (female-shaped shrines) temples (Orissa) to explain the boat-utpreksa as used in Caryapada. Lastly, the author had linked the cakras (so-called Hindu and Buddhist systems were amalgamated here — a case of syncretism) with different stages of speeches/non-speeches (a trajectory from parole to silenceme) and sleeping/non-sleeping to reach the point of “vakpathatia” (cf. caryapada, 37 a cordoned zone of silenceme or paravak) in a tabular form with illustration. One point must be noted: the authors selfhood as a scientist was condemned here by the author himself as he criticized (a) the recent neuro-physicists’ anatomo-bio-political intervention into in body of the sadhakas/ practitioners; (b) the gap between theory and praxis as it was found in recondite scholarship. Thus the paper was an addition to the author’s agenda of introducing two novel disciplinary technologies: Silence and Corporal studies.

Keywords: Silence and Corporal studies, silenceme, utpreksa, vyaja, paravak, anatomo-bio-political intervention, Aporia/naigama

In the 1990s we witnessed in different countries a trend in experimental music that can be acknowledged as a turn to silence. Such a trend is verified in the musical expression of the Wandelweiser Group; in the Berlin Reductionism style from the Echtzeitmusik scene; on Onkyô scene; in the lowercase/quiet microsound style and others. The noteworthy connection with the silence of 4'33" composed in 1952 by John Cage arouses questions about whether this turn to silence could be a ‘farse’ or if it would be diverse something. The first aim of this research is to 'understand' listening to this 'new silence'. It is observed that the ‘conceptual’ aspect of the silence related to this new trend in experimental music is something exposing lower expression if compared with its 'affective' feature. Thus, we elected a speculative methodology in order to know what the silence of this experimental music 'does' in the listener rather than knowing what that silence 'means' indeed. This selected methodology is based on the Affect Theory, which consists of a turn at the beginning of this century to Baruch Spinoza's philosophy of immanence whose work was restated by Gilles Deleuze and Félix Guattari afterward. The method used is Guattari's meta-modelisation in which the interaction of concepts bears new concepts that, in this way, also allows for the becoming of elements that frequently escape from models based on representation. We argue first that the listening of silence in the current experimental music is a bodily listening, since its silence is affective. In order to arrive at such a viewpoint, we start from an analysis of the shocks of both avant-garde and capitalist manifestations that, although from different fields both express a potential for the investigation of bodily reception. Next, we conceive a notion of bodily reception through the Artaud’s concept of Body-without-Organs. In a third moment we discussed the possibility of a theoretical model that approaches listening for what is beyond sound, that is, a bodily listening of the inaudible sound, pointing to an extended usage proposition of the 'correlation' models of listening by Pierre Schaeffer and Seth Kim - Cohen. Then we present a sequence of researches and artistic works under the prism of the Affect Theory, as well as the concepts of 'productive masochism', 'affective noise' and 'affective
listening'. At last we offer an overview of the current scenario related to silent experimental music that, with the aid of the interaction between the concepts discussed beforehand and as well the discourse of musicians and researchers involved with these musical prospects, it becomes possible to speculate that their affective silence could promote an agency to reestablish the micropolitic capacity of listening which is able to act in the environment. Therefore this research intends to contribute with an investigation on music in the field of Affect Theory and an investigation of affect in the Sound Studies and Musicology.

Na década de 1990 assistimos a uma tendência na música experimental localizada em diferentes países, a qual pode ser reconhecida como uma volta para o silêncio. Essa tendência é identificada na música do coletivo internacional de compositores-performers Wandelweiser com sede na Alemanha, no estilo Berlin Reductionism da cena Echtzeitmusik na cidade de Berlim, no Onkyô na cidade de Tóquio, no estilo lowercase/quiet microsound que é descentralizado geograficamente, além de outros. A notável relação com o silêncio de 4’33” composta em 1952 por John Cage, considerado o criador da música experimental, levanta questões sobre se essa volta para o silêncio poderia ser uma farsa como a recuperação de um dispositivo das vanguardas de meados do século XX ou se ela seria algo diferente disto. O primeiro objetivo deste trabalho é o de ‘compreender’ a escuta desse ‘novo silêncio’. Nota-se que o aspecto conceitual do silêncio dessa nova tendência na música experimental é algo de menor expressão se comparado com o seu aspecto ‘afetivo’. Dessa forma, optou-se por uma metodologia especulativa para saber o que o silêncio da recente música experimental ‘faz’ no ouvinte ao invés de saber o que esse silêncio ‘significa’. A metodologia é fundamentada pela Teoria do Afeto que consiste em uma volta no início deste século para a filosofia da imanência de Baruch Spinoza, ressignificada por Gilles Deleuze, Félix Guattari e outros. O método utilizado é o de meta-modelização de Guattari em que a interação de conceitos geram novos conceitos desconhecidos que, dessa forma, permite o devir de elementos que frequentemente escapam dos modelos baseados na representação. Argumentamos primeiramente que a escuta do silêncio na recente música experimental é uma escuta corporal, visto que seu silêncio é afetivo. Para chegarmos a tal resultado, partimos inicialmente de uma análise dos choques tanto das manifestações vanguardistas quanto os do mundo capitalista que, embora sejam de domínios diferentes ambos expressam um potencial para o estudo da recepção corporal. Em seguida, definimos uma noção de recepção corporal por meio do conceito de Corpo-sem-Órgãos. Em um terceiro momento discutimos a possibilidade de um modelo teórico que aborde a escuta para o que está além do som, ou seja, uma escuta corporal do som inaudível, indicando um uso estendido dos modelos ‘correlacionistas’ de escuta de Pierre
Schaeffer e de Seth Kim-Cohen. Então apresentamos uma série de pesquisas e trabalhos artísticos sob a luz da Teoria do Afeto, além dos conceitos de ‘masoquismo produtivo’, ‘ruído afetivo’ e ‘escuta afetiva’. Finalmente apresentamos as recentes cenas da música experimental silenciosa que, com o auxílio da interação entre os conceitos discutidos anteriormente e o discurso de músicos e pesquisadores envolvidos com essas cenas torna-se possível especular que o seu silêncio afetivo pode promover um agenciamento para restabelecer a capacidade micropolítica da escuta atuar no ambiente. Essa pesquisa pretende assim contribuir com uma investigação sobre música no campo da Teoria do Afeto e uma investigação do afeto nos campos dos Estudos do Som e da Musicologia.

This paper presents the perceptions of silence in two Romani (Gipsy) cultures in Europe-Bulgaria and Finland. On the basis of field studies and two in-depth interviews, conducted in the towns of Mikkeli (Finland) and Ihtiman (Bulgaria), it outlines the attitudes of the European Roma people towards "being marginalised" and "silenced". Silence is perceived by them in terms of "being different" and "being sometimes ashamed". In the Romani culture there is a special relationship between "silence", "pride" and "shame" as a specific worldview and a mechanism of constructing of both the personal and the collective ethnic identities. The paper also studies the phenomenon of self-silencing as a strategy of coping with undesirable situations that seem to disturb the mental wellbeing of two individuals. It underlines the need for raising the awareness of education within the Roma community in Europe and concludes that it is necessary to differentiate between "cultural" and "non-cultural" practices in the educational system. This is an open access article under the CC-BY-SA license. Keywords Romani people Ethnic identity Cultural practices Bulgarian Gypsies Finnish Gypsies How to Cite: Petkova, D. P. (2021). Silenced voices and speaking up: A case study of Romani people in Europe.

This presentation aims to discuss some of the key findings of the doctoral dissertation in musicology, “Analysis of Silences in Music: Theoretical Perspectives, Analytical Examples from Twentieth-Century Music, and In-Depth Case Study of Webern’s Op. 27/iii”, supervised by Prof. Mark Delaere at the University of Leuven (KU Leuven, Belgium).
The importance that silences have in music can hardly be underestimated. This significance has received a lot of attention by musicologists and music writers in general. A recurring debate is its paradoxical “non-existence”. However, this research approaches silence from a different angle: music analysis. How can we apply musical analysis to improve our understanding of the constructive functions that silences and pauses have in a musical work?