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3.1. Integrated Silences    3.2. Inherent Silences    3.3. Silent Discourse    3.4. Meta-Silences    3.5. Silencings

3.4.6 The Space Between—Alan Frederick Shockley: Cold Springs Branch, 10 p.m.
EXPLANATORY VIDEO
NOTATION: classical notes, without rests
MARKERS: The bell note itself is an audible marker.

The piano bell effect that I perform in Alan Frederick Shockley’s composition is similar in function and mood to the real bell used in Pärt’s Cantus in memoriam Benjamin Britten.
Audio: Casco Phil performing Arvo Pärt, Cantus in memoriam Benjamin Britten (live performance: Mechelen, December 12, 2021)

As with the piano piece by Shockley, the interest of the bell in Pärt’s Cantus lies not only in its sound but in the space between the sounds. These bells are markers for the silence behind, and the silences are markers for the bells. This is an example of using sounds to “play” silence, thus engendering intensely connective and strongly knotted silences.
PIANO SCORE
COMPOSER: Alan Frederick Shockley
Audio: Alan Frederick Shockley: Cold Springs Branch, 10 p.m.

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