__NOTOC__ Music without sound can refer to music that falls outside the range of human hearing (typically 20 Hz–20 kHz) or to compositions, such as visual music, that are analogous to or suggestive of ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, conventional music but in media other than sound, such as color, shape, position, motion and literature (see Discursive music below). It is commonly taken for granted that music is wont to be performed or recorded, but some sound works simply won't fit on a disc or on stage, being either extremely discreet (like Robin Minard's Silent Music) or incomplete (Varèse's Unfinished music). Additionally, silence can be regarded as the via negativa of music and has induced long lasting fascination to music composers of all kinds. A composer deals with the absence of sound as much as they deal with sounds. Therefore, this article includes several examples of apophasis in music (like Algorithmic music or Gesture Music). Gesture music Sofia Gubaidulina Silence in music happens when the music stops during a performance. It is sometimes replaced by gesture music. In his Sofia Gubaidulina biography,Michael Kurtz Sofia Gubaidulina: A Biography, p  184, english translation Indiana University Press, 2007 (written 2001) Michael Kurtz mentions the silent solo performance by the conductor included in ...Stimmenn... verstummen..., an orchestral work from 1986. Helmut Lachenmann Lachenmann composed Salut Für Caldwell for 2 guitars in 1977. The piece includes silent moments when « the players silent motions and gestures created a space of unheard music » [Michael KurtzMichael Kurtz Sofia Gubaidulina: A Biography, p  192, english translation Indiana University Press, 2007 (written 2001)] Algorithmic music Maximilian Stadler (1748-1833) A sequence of finite instructions according to Wikipedia , an algorithm relates to computation, which ultimately relates to music. Eighteenth century algorithmic music is a contemporary of automaton machines, like Jacques de Vaucanson's duck or Wolfgang von Kempelen's chess player, or Ada Lovelace and Charles Babbage's 1822 difference engine. In 1787, W.A. Mozart (1756–1791) devised an aleatoric system called Musikalisches Würfelspiel (Musical Dice) Musikalisches Würfelspiel (Musical Dice Game), K.516f in the Köchel catalogue of Mozart’s music published 1793 by J.J. Hummel in Berlin-Amsterdam , to compose waltzes with a pair of dice and a set of written bars on paper cards.See Hideo Noguchi's article: Mozart Musical Game in C K. 516f, 1990 The combination of all the 16 cards and transitions, of which there are theoretically combinations, constitutes a minuet.Computation from John Chuang in a 1995 article Unfinished/aborted music At one point, the music exists in the composer's mind. In 1928, Edgar Varèse started working on an opera called L'Astronome based on North American Indian legends, a project he never completed and destroyed the drafts. In 1932, he asked Antonin Artaud to write the libretto of a large scale oratorio, Il n'ya plus de firmament (There is no longer any firmament). In his book Phantasmatic Radio Allen S. Weiss translates the beginning of Artaud's text: The ]  piece was never completed and Varèse turned to other projects, including a radiophonic work involving various synchronised choirs located in different places of the world. He never found the technology for it. In 1948, Artaud insisted on having noise sounds included in his Pour en finir avec le judgement de Dieu (To have done with the judgment of God). This was done in the Radiodiffusion Television Française studios where Pierre Schaeffer was working at the time. Discursive music Marcel Proust The Vinteuil Sonata (French: Sonate de Vinteuil) is an imaginary violin and piano sonata by fictitious composer Vinteuil recurring several times in Marcel Proust's A La Recherche Du Temps Perdu (In Search of Lost Time), particularly in Un Amour De Swann (1913). In the latter volume, Charles Swann associates strong emotions and memories to the melody composed by Vinteuil. The French composer Reynaldo Hahn noticed how much Marcel Proust "vivait la musique de son temps" (experienced contemporary music).See Adrien De Vries' article : Sources de la Sonate de Vinteuil, April 2007 (in french ) For example, Proust immediately praised and enjoyed Debussy's 1902 Pelléas et Mélisande opera. Critics disagree on which composer inspired the Sonata . Possibly Gabriel FauréSee Margaret Hunter and Abigail Al-Doory's article: L'homme et la Musique Dans Un Amour de Swann, 1996 or César Franck. In Les Plaisirs et les Jours (1896), Proust focusses on Hans Sachs's monologue from Wagner's Die Meistersinger von Nürnberg, Act II. In Jean Santeuil (1952), a Camille Saint-Saëns Sonata for Violin and Piano (op . 75, 1885) plays a key role and is presumably the model for the Sonate de Vinteuil. In Un Amour De Swann, the Vinteuil Sonata is played during evenings at the Verdurins' by pianist Dechambre. The main character's emotions are mirrored by Proust's musical reminiscences. Walter Marchetti A good example of imaginary music can be found in a Walter Marchetti poem where he mentions a Juan Hidalgo imaginary composition (both Hidalgo and Marchetti were members of the Spanish Zaj Group of Madrid in the late 1950s). 
 Music without sound can refer to music that falls outside the range of human hearing (typically 20 Hz–20 kHz) or to compositions, such as visual music, that are analogous to or suggestive of conventional music but in media other than sound, such as color, shape, position, motion and literature (see Discursive music below). It is commonly taken for granted that music is wont to be performed or recorded, but some sound works simply won't fit on a disc or on stage, being either extremely discreet (like Robin Minard's Silent Music) or incomplete (Varèse's Unfinished music). Additionally, silence can be regarded as the via negativa of music and has induced long lasting fascination to music composers of all kinds. A composer deals with the absence of sound as much as they deal with sounds. Therefore, this article includes several examples of apophasis in music (like Algorithmic music or Gesture Music). Gesture music Sofia Gubaidulina Silence in music happens when the music stops during a performance. It is sometimes replaced by gesture music. In his Sofia Gubaidulina biography,Michael Kurtz Sofia Gubaidulina: A Biography, p . 184, english translation Indiana University Press, 2007 (written 2001) Michael Kurtz mentions the silent solo performance by the conductor included in ...Stimmenn... verstummen..., an orchestral work from 1986. Helmut Lachenmann Lachenmann composed Salut Für Caldwell for 2 guitars in 1977. The piece includes silent moments when " the players silent motions and gestures created a space of unheard music ". [Michael KurtzMichael Kurtz Sofia Gubaidulina: A Biography, p . 192, English translation Indiana University Press, 2007 (written 2001)] Algorithmic music Maximilian Stadler (1748-1833) A sequence of finite instructions , an algorithm relates to computation, which ultimately relates to music. Eighteenth century algorithmic music is a contemporary of automaton machines, like Jacques de Vaucanson's duck or Wolfgang von Kempelen's chess player, or Ada Lovelace and Charles Babbage's 1822 difference engine. In 1787, W.A. Mozart (1756–1791) devised an aleatoric system called Musikalisches Würfelspiel (Musical Dice) published 1793 , to compose waltzes with a pair of dice and a set of written bars on paper cards.See Hideo Noguchi's article: Mozart Musical Game in C K. 516f, 1990 The combination of all the 16 cards and transitions, of which there are theoretically combinations, constitutes a minuet.Computation from John Chuang in a 1995 article Unfinished/aborted music At one point, the music exists in the composer's mind. In 1928, Edgard Varèse started working on an opera called L'Astronome based on North American Indian legends, a project he never completed and destroyed the drafts. In 1932, he asked Antonin Artaud to write the libretto of a large scale oratorio, Il n'ya plus de firmament (There is no longer any firmament). In his book Phantasmatic Radio Allen S. Weiss translates the beginning of Artaud's text: cquote|Darkness. Explosions in this darkness. Harmonies suddenly broken off. Harsh sounds. Depressurized soundings. The music will give the impression of a distant cataclysm and will fill the room, falling as from vertiginous heights. Chords will originate in the sky and then deteriorate, going from one extreme to the other. Sounds will fall as if from very high, then suddenly stop and spread out in bursts, forming vaults and parasols. Tiers of sounds... in Phantasmatic Radio]Allen S. Weiss, Phantasmatic Radio, Duke University Press, 1995, page 42 The piece was never completed and Varèse turned to other projects, including a radiophonic work involving various synchronised choirs located in different places of the world. He never found the technology for it. In 1948, Artaud insisted on having noise sounds included in his Pour en finir avec le judgement de Dieu (To have done with the judgment of God). This was done in the Radiodiffusion Television Française studios where Pierre Schaeffer was working at the time. Discursive music Marcel Proust The Vinteuil Sonata is an imaginary violin and piano sonata by fictitious composer Vinteuil recurring several times in Marcel Proust's À la recherche du temps perdu (In Search of Lost Time), particularly in Un amour de Swann (1913). In the latter volume, Charles Swann associates strong emotions and memories to the melody composed by Vinteuil. The French composer Reynaldo Hahn noticed how much Marcel Proust "vivait la musique de son temps" (experienced contemporary music).See Adrien De Vries' article : Sources de la Sonate de Vinteuil, April 2007 (in French ) For example, Proust immediately praised and enjoyed Debussy's 1902 Pelléas et Mélisande opera. Critics disagree on which composer inspired the sonata . Possibly Gabriel FauréSee Margaret Hunter and Abigail Al-Doory's article: L'homme et la Musique Dans Un Amour de Swann, 1996 or César Franck. In Les plaisirs et les jours (1896), Proust focusses on Hans Sachs's monologue from Wagner's Die Meistersinger von Nürnberg, act 2. In Jean Santeuil (1952), a Camille Saint-Saëns sonata for violin and piano (Op . 75, 1885) plays a key role and is presumably the model for the Sonate de Vinteuil. In Un amour de Swann, the Vinteuil Sonata is played during evenings at the Verdurins' by pianist Dechambre. The main character's emotions are mirrored by Proust's musical reminiscences. Walter Marchetti A good example of imaginary music can be found in a Walter Marchetti poem where he mentions a Juan Hidalgo imaginary composition (both Hidalgo and Marchetti were members of the Spanish Zaj Group of Madrid in the late 1950s). <poem style="margin-left: 2em;">Eat an iced popsicle and thus perform his free transcription, for only one performer, ofMusic For Five Dogs, an iced Popsicle and Six Male Performers by Juan Hidalgo. —Walter Marchetti in A Zaj SamplerSomething Else Press, New York, 1967, reissued by Great Bear Pamphlets
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english
English
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according to Wikipedia
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Musikalisches Würfelspiel (Musical Dice Game), K.516f in the Köchel catalogue of Mozart’s music
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by J.J. Hummel in Berlin-Amsterdam
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Edgar
Edgard
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The
cquote|Darkness. Explosions in this darkness. Harmonies suddenly broken off. Harsh sounds. Depressurized soundings. The music will give the impression of a distant cataclysm and will fill the room, falling as from vertiginous heights. Chords will originate in the sky and then deteriorate, going from one extreme to the other. Sounds will fall as if from very high, then suddenly stop and spread out in bursts, forming vaults and parasols. Tiers of sounds...
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in Phantasmatic Radio
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Allen S. Weiss, Phantasmatic Radio, Duke University Press, 1995, page 42
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The
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(French: Sonate de Vinteuil)
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A La Recherche Du Temps Perdu
À la recherche du temps perdu
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Amour De
amour de
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french
French
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Sonata
sonata
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Plaisirs et les Jours
plaisirs et les jours
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Act II.
act 2.
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Sonata for Violin and Piano (op
sonata for violin and piano (Op
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Amour De
amour de
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<poem style="margin-left: 2em;">Eat an iced popsicle and thus perform his free transcription, for only one performer, ofMusic For Five Dogs, an iced Popsicle and Six Male Performers by Juan Hidalgo. —Walter Marchetti in A Zaj SamplerSomething Else Press, New York, 1967, reissued by Great Bear Pamphlets