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Topic: La part du silence by BERTHELOT


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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.
The silence can be seen too as a time for contemplation to reflect on the piece, or as a sort of breath in the piece.
During the 20th century, mainly in Classical and Jazz, composers explored further the expressive potential of silence in their music.
An extreme example from 1952 is 4'33", an experimental musical work by avant-garde composer John 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.
On this album "La part du silence", Berthelot used the silences as a breath, and predominantly as "non-dits" (unsaid) between the micro-stories of sounds.
Recorded in France, March & April 2014.
Sleeve design by Berthelot & Graph'Hypnotic.
Archival photographs by Steve Nicklas, Treasures of the NOAA Library Collection (Public Domain).

[ Acousmatic, Post-Concrete, Ambient Noises, Experimental Electronic ]

Lossless files here : https://archive.org/details/MI96-BERTHELOT-La_part_du_silence

View full album



Edited by Berthelot
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