Akhavijou, Ramin
(2024)
The Role of Silence in Salvatore Sciarrino’s Infinito Nero, and a Series of Original Compositions Based on Silence.
Doctoral Dissertation, University of Pittsburgh.
(Unpublished)
This is the latest version of this item.
Abstract
This dissertation focuses on the multifaceted role of silence in the structure of Salvatore Sciarrino's (b.1947) composition, Infinito Nero. The study employs a graphic technique I call "outsidegraphy" to explore how silence is intentionally incorporated and represented in the score. This method condenses the musical elements, strategically removing rests and staves, providing a comprehensive visual overview that emphasizes the significance of silence in the composition. Outsidegraphy centers on perception, offering a silence-focused lens to interpret the composer's intentions. The resulting single-image representation of the score integrates both temporal and spatial elements, presenting a holistic image of the piece's silence. Salvatore Sciarrino's compositions, particularly Infinito Nero, challenge conventional notions of sound and silence. Sonic elements are deliberately placed at or below the perceptual threshold, creating a deliberate distance between the audience and the sound platform. This intentional distancing encourages listeners to actively engage with hidden intricacies of the music, akin to scrutinizing a seemingly blank canvas to reveal concealed patterns and colors. The dissertation also explores the concept of "self-erasing boxes" in Sciarrino's compositions, highlighting the transient nature of certain sounds. These sounds, meticulously notated in the score, lack stability, lingering at the threshold of perception. The fragility of these sounds, influenced by factors like azzerare dynamics and the absence of recognizable musical cells, contributes to Sciarrino's intentional creation of transient sonic elements.
The original compositions include A Miniature Opera: Censorship and The Unnoticed Dance No. 1 & 2, exploring the convergence of sociopolitical and musical silence. In the exploration of censorship, the musical elements illustrate the process through reduction, converting sounds into noises, and gradually introducing silence. The title, A Miniature Opera: Censorship, signifies metaphorical censorship, where all elements of the opera undergo suppression, leaving only four instrumentalist characters on the stage. Amidst these alterations, a singular action endures—the foot strike, symbolizing a potent form of protest. Within The Unnoticed Dances, the established theme undergoes an elimination process, not solely in sounds but also in the visual aspect of the score.
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Details
Item Type: |
University of Pittsburgh ETD
|
Status: |
Unpublished |
Creators/Authors: |
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ETD Committee: |
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Date: |
27 August 2024 |
Date Type: |
Publication |
Defense Date: |
5 March 2024 |
Approval Date: |
27 August 2024 |
Submission Date: |
30 July 2024 |
Access Restriction: |
No restriction; Release the ETD for access worldwide immediately. |
Number of Pages: |
58 |
Institution: |
University of Pittsburgh |
Schools and Programs: |
Dietrich School of Arts and Sciences > Music |
Degree: |
PhD - Doctor of Philosophy |
Thesis Type: |
Doctoral Dissertation |
Refereed: |
Yes |
Uncontrolled Keywords: |
Music, Silence, Perception, Composition |
Date Deposited: |
27 Aug 2024 13:13 |
Last Modified: |
27 Aug 2024 13:13 |
URI: |
http://d-scholarship.pitt.edu/id/eprint/46803 |
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The Role of Silence in Salvatore Sciarrino’s Infinito Nero, and a Series of Original Compositions Based on Silence. (deposited 27 Aug 2024 13:13)
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