{"title":"《打破沉默:未被承认的沉默片段","authors":"Eder Wilker Borges Pena","doi":"10.20504/OPUS2020C2617","DOIUrl":null,"url":null,"abstract":"The following work seeks to restore from obscurity three silent pieces of music that predate John Cage’s 4’33” and establish the reasons why they have not been acknowledged as being the first silent pieces. Hence, we present our methodology, analysis, and conclusion based on the motives that led them to musicological oblivion, their relevance in the context of experimental music, and why 4’33” was possible in its zeitgeist.","PeriodicalId":42804,"journal":{"name":"Opus","volume":"25 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2021-01-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“Unsilencing” the Silence: Unacknowledged Silent Pieces\",\"authors\":\"Eder Wilker Borges Pena\",\"doi\":\"10.20504/OPUS2020C2617\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The following work seeks to restore from obscurity three silent pieces of music that predate John Cage’s 4’33” and establish the reasons why they have not been acknowledged as being the first silent pieces. Hence, we present our methodology, analysis, and conclusion based on the motives that led them to musicological oblivion, their relevance in the context of experimental music, and why 4’33” was possible in its zeitgeist.\",\"PeriodicalId\":42804,\"journal\":{\"name\":\"Opus\",\"volume\":\"25 1\",\"pages\":\"\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2021-01-07\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Opus\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.20504/OPUS2020C2617\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MUSIC\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Opus","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.20504/OPUS2020C2617","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
“Unsilencing” the Silence: Unacknowledged Silent Pieces
The following work seeks to restore from obscurity three silent pieces of music that predate John Cage’s 4’33” and establish the reasons why they have not been acknowledged as being the first silent pieces. Hence, we present our methodology, analysis, and conclusion based on the motives that led them to musicological oblivion, their relevance in the context of experimental music, and why 4’33” was possible in its zeitgeist.
期刊介绍:
Founded in 1989, OPUS is a four-monthly journal with the aim to widely promote musical knowledge by exploring practical, theoretical, historical, political, cultural and/or interdisciplinary aspects of music while fostering innovative technical perspectives. A scientific journal of the Associação Nacional de Pesquisa e Pós-Graduação em Música [National Association of Music Research and Postgraduate] — ANPPOM — its primary focus is to provide a broad overview of the most representative research on music in Brazil.