Home    1. Introduction    2. Markers    3. Archive    4. Audible Markers    5. Visible Markers    6. Notational Markers    7. Conclusion 

References

Acheson, K. (2008). Silence as Gesture: Rethinking the Nature of Communicative Silences. Communication Theory, 18, 535–555. https://doi.org/10.1111/j.1468-2885.2008.00333.x

Amaral, H. (2022). Mediating from within: Metaxical amplification as an alternative sonic environment for classical music performance [Doctoral Dissertation]. Leiden University. https://hdl.handle.net/1887/3486333

Adolphs, V., & Berg, S. (2021). Sound and Silence. Der Klang der Stille in der Kunst der Gegenwart [Exhibition Catalog]. Kunstmuseum Bonn.

Antheil, G. (1945). Bad Boy of Music (1st ed.). Doubleday Doran & Company Inc.

Barthes, R. (2005). The Neutral: Lecture Course at the College de France (1977-1978) (R. Krauss & D. Hollier, Trans.). Columbia University Press.

Barton, P. (2021, April 13). Uwaa: The sound of the feeling that cannot be spoken. Granta. https://granta.com/uwaa-fifty-sounds-polly-barton/

Bataille, G. (1978). L’expérience intérieure. Gallimard.

Besingrand, J.-P. (2023). Ways of Silence and Other Absences in the Music of George Crumb [Doctoral Dissertation]. City University of New York.

Brendel, A. (1976). Musical Thoughts & Afterthoughts. Robson Books.

Brooks, W. (2017). Pragmatics of Silence. In N. Losseff & J. Doctor (Eds.), Silence, Music, Silent Music. Routledge. https://doi.org/10.4324/9781315087955

Buch, E. (2018). Seeing the Sound of Silence in the Great War. Musik in Konfrontation und Vermittlung. Beiträge Zur Jahrestagung Der Gesellschaft Für Musikforschung in Osnabrück, 101–113.

Busoni, F. (1911). Sketch of a New Esthetic of Music (T. Baker, Trans.). G. Schirmer.

Cage, J. (1961). Silence: Lectures and Writings. Wesleyan University Press.

Cage, J. (2012). A Year from Monday: New Lectures and Writings. Wesleyan University Press.

Cobussen, M. (2024). Music – A Field of Nonhuman Interaction. In C. Stover & G. Michaelsen (Eds.), Analyzing Musical Interaction.

Cobussen, M. (2005). Fragmenten—Stilte, voor Derrida—Deconstructie in het werk van Luigi Nono. In E. Heyerman (Ed.), Welke taal spreekt de muziek? (pp. 159–171). Damon.

Cobussen, M. (2008). Thresholds: Rethinking Spirituality Through Music. Ashgate Publishing Company. https://doi.org/10.1093/ml/gcr102

Cobussen, M. (2022). Engaging with Everyday Sounds. Open Book Publishers. http://doi.org/10.11647/OBP.0288.01

Cook, N. (2008). Beyond the notes. Nature, 453(1186-1187). https://doi.org/10.1038/4531186a

Cowell, H. (1930). New Musical Resources (D. Nicholls, Ed.). Knopf.

Cox, T. (2014). The Sound Book: The Science of the Sonic Wonders of the World. W. W. Norton & Company.

Craenen, P. (2014). Composing under the Skin: The Music-making Body at the Composer’s Desk. Leuven University Press. https://doi.org/10.2307/j.ctt13x0ms5

Craenen, P. (2024). Reflection as interference. Eleven thoughts on artistic research as an interruptive practice. Forum +, Autumn. https://www.forum-online.be

Dahl, S., & Freiberg, A. (2007). Visual perception of expressiveness in musicians’ body movements. Music Perception, 24(5), 433–454.

Davidson, J. W. (1993). Visual perception of performance manner in the movements of solo musicians. Psychology of Music, 21(2), 103–113.

Davies, J. Q. (2014). Romantic Anatomies of Performance. University of California Press.

DeNora, T. (1998). Beethoven and the Construction of Genius: Musical politics in Vienna, 1792–1803. University of California Press.

Doctor, J. (2017). The Texture of Silence. In N. Losseff & J. Doctor (Eds.), Silence, Music, Silent Music. Routledge. https://doi.org/10.4324/9781315087955

Egan, J. (2010). A Visit from the Goon Squad. Knopf.

Eppley, C. (2021). A Map of a Sound as a Space: Christine Sun Kim’s (LISTEN). The Journal of Media Art Study and Theory, 2(2), 102–116.

Farennikova, A. (2019). Would You Buy Absence Art? In D. Shottenkirk, M. Curado, & S. S. Gouvela (Eds.), Perception, Cognition, and Aesthetics. Routledge.

Fischer-Lichte, E. (2008). Reality and Fiction in Contemporary Theatre. Theatre Research International, 33(1), 84–96. Cambridge Core. https://doi.org/10.1017/S0307883307003410

Fitzpatrick, S. (1992). The Lady Macbeth Affair: Shostakovich and the Soviet Puritans. In The Cultural Front: Power and Culture in Revolutionary Russia. Cornell University Press.

Gabrielsson, A., & Juslin, P. N. (2003). Emotional expression in music. In R. J. Davidson (Ed.), Handbook of affective sciences (pp. 503–534). Oxford University Press.

Gann, K. (2011). No such thing as silence. Yale University Press.

Gann, K. (2013, February 7). No Such Thing as Silence. Making the Right Choices: A John Cage Centennial Celebration. New World Symphony Festival, Miami, FL, United States. https://www.nws.edu/media/199215/johncage-book-digital.pdf

Garritzmann, U. (2021). Modes of Tectonic Thinking Proposal for a Non-Dualistic Understanding of Tectonic Expression in Architecture [Doctoral Dissertation]. Aarhus School of Architecture.

Gent, P. (2010, August 23). Mahler’s Ninth Symphony. Telegraph. https://www.telegraph.co.uk/culture/music/classicalmusic/7960342/Mahlers-Ninth-Symphony-Lucerne-Festival-Abbado-review.html

Goehr, L. (1996). The Perfect Performance of Music and the Perfect Musical Performance. New Formations, 27, 1–22.

Goh, R. Z., Phillips, I. B., & Firestone, C. (2023). The perception of silence. Proceedings of the National Academy of Sciences, 120(29), e2301463120. https://doi.org/10.1073/pnas.2301463120

Goodman, P. (1971). Silence, speaking and language. The Archabbey Press.

Greenbank, S. (2020, March). Beethoven Sonatas Pollini: Classical Music Reviews. MusicWeb-International. http://www.musicweb-international.com/classrev/2020/Mar/Beethoven_Pollini_4838250.htm

Grundy, D. (2022, November 8). AMM says farewell, and keeps its secrets. https://www.artforum.com/music/amm-says-farewell-and-keeps-its-secrets-88873

Hatten, R. S. (2006). A Theory of Musical Gesture and its Application to Beethoven and Schubert. In A. Gritten & E. King (Eds.), Music and Gesture (pp. 1–23). Ashgate Publishing Company. https://doi.org/10.4324/9781315091006-2

Hillier, P. (1997). Arvo Pärt. Oxford University Press.

Hodkinson, J. (2007). Presenting Absence: Constitutive Silences in Music and Sound Art since the 1950’s [Doctoral Dissertation]. University of Copenhagen.

Hornby, E. (2017). Preliminary Thoughts About Silence in Early Western Chant. In N. Losseff & J. Doctor (Eds.), Silence, Music, Silent Music. Routledge. https://doi.org/10.4324/9781315087955

Jankélévitch, V. (1961). La musique et l’ineffable. Librairie Armand Colin.

Jensenius, A. R., & Wanderley, M. M. (2010). Concepts and Methods in Research (R. I. Godøy & M. Leman, Eds.). Routledge.

Johnson, T. (1978). Imaginary music. Two-Eighteen Press.

Johnson, T. (2015). La musique silencieuse. Inter (121), 42–47.

Judkins, J. (1997). The Aesthetics of Silence in Live Musical Performance. The Journal of Aesthetic Education, 31(3), 39–53.

Kahn, D. (2015). Noise, Water, Meat History of Voice, Sound, and Aurality in the Arts. MIT Press.

Karvouni, M. (1999). Demas: The Human Body as Tectonic Construct. In S. Parcell & A. P. Gómez (Eds.), Intervals in the Philosophy of Architecture. McGill-Queen’s University Press.

Kettle, M. (2012, November 22). Evgeny Kissin. The Guardian. https://www.theguardian.com/music/2012/nov/22/evgeny-kissin-review

Kostelanetz, R., & Cage, J. (2003). Conversing with Cage. Routledge.

Küssner, M. B., & Van Dyck, E. (2020). All Eyes on Me: Behaving as Soloist in Duo Performances Leads to Increased Body Movements and Attracts Observers’ Visual Attention. Music Perception, 38(2), 195–213. https://doi.org/10.1525/MP.2020.38.2.195

Kyriakides, Y. (2017). Imagined Voices: A Poetics of Music-Text-Film [Doctoral Dissertation]. University of Leiden.

Lachenmann, H. (1999). Touched by Nono. Contemporary Music Review, 18(1), 17–30.

Leman, M. (2007). Embodied music cognition and mediation technology. MIT Press.

Levinson, J. (1993). Performative vs. Critical Interpretation in Music. In M. Krausz (Ed.), The Interpretation of Music: Philosophical Essays (p. 0). Oxford University Press. https://doi.org/10.1093/oso/9780198239581.003.0003

Lin, T. C. (2020, April 24). Schumann’s Humoreske, Op.20 [Divertissements]. Tony Chen Lin. https://www.tonychenlin.com/schumanns-humoreske-op-20/

Littlefield, R. (1996). The silence of the frames. The Society for Music Theory, 2(1), 213–231.

Livingston, G. (Director). (2017, August 22). The Cathedral and the Box. In Earshot [Radio Broadcast]. ABC Radio National. https://www.abc.net.au/radionational/programs/earshot/the-cathedral-and-the-box/8688838

Livingston, G. (Director). (2020). The Silence in Between [Radio Broadcast]. In The Lyric Feature. RTÉ. https://www.rte.ie/radio/lyricfm/clips/21883997/

Livingston, G. (2024). Room Tones and Situated Silences. In Listening: A Research Method in Art and Design (Vol. 3). KABK Lectorate Design.

Livingston, G. (2025). The Audience Grows Restless. In Se taire, écouter, (en) parler: Voix et silences des récepteurs dans les arts plastiques – Arts vivants – Cinéma – Littérature. Éditions de l’Université de Lorraine (ÉDUL).

Livingston, G., & Hernik, S. (2020). Silence|Noise. self-published.

Lüneburg, B. (2023). Knowledge Production in Artistic Research – Opportunities and Challenges. Music & Practice, Volume 10. https://doi.org/10.32063/1009

Mallarmé, S. (2003). Mallarmé, Œuvres complètes (B. Marchal, Ed.; Vol. ii). Gallimard.

Mann, T. (1947). Doctor Faustus (J. E. Woods, Trans.). A.A. Knopf.

Margel, S. (2018). II. Musicienne du silence: Les styles de Mallarmé. In S. Margel (Ed.), Altérités de la littérature: Philosophie, ethnographie, cinéma: Vol. II (pp. 39–52). Hermann.

Margulis, E. H. (2007). Moved by Nothing: Listening to Musical Silence. Journal of Music Theory, 51(2), 245–276. https://doi.org/10.1215/00222909-2009-003

Massumi, B. (2008, May). “The Thinking-Feeling of What Happens” 40 Inflexions 1.1. “How Is Research-Creation?” http://www.inflexions.org

Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, Trans.). Humanities Press.

Mock, R., & Counsell, C. (2009). Performance, embodiment, and cultural memory. Newcastle upon Tyne : Cambridge Scholars.

Moore, R. (2013, March). Beethoven Sonatas Richter: Classical Music Reviews. MusicWeb-International. http://www.musicweb-international.com/classrev/2013/Mar13/Beethoven_Richter_94399.htm

Murphy, D. (2008, September 2). Schumann—Humoreske, Op.20. Entschwindet Und Vergeht. http://youyouidiot.blogspot.com/2008/09/schumann-humoreske-op20.html

Noland, C. (2009). Agency and Embodiment: Performing Gestures/producing Culture. Harvard University Press.

Oja, C. (2001). Making Music Modern. Oxford University Press.

Oliveros, P. (2005). Deep Listening: A Composer’s Sound Practice (0 edition). iUniverse.

Peress, M. (2004). Dvorák to Duke Ellington: A Conductor Rediscovers America’s Music and Its African-American Roots. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780195098228.003.0014

Phillips, I. (1999, January 7). Monster at the keyboard. The Guardian. https://www.theguardian.com/theguardian/1999/jan/07/features11.g25

Picard, M. (1952). The World of Silence. H. Regnery.

Potter, J. (2017). The Communicative Rest. In N. Losseff & J. Doctor (Eds.), Silence, Music, Silent Music. Routledge. https://doi.org/10.4324/9781315087955

Rhein, J. V. (2013, April 29). Marathon finish for masterful Evgeny Kissin. Chicago Tribune. https://www.chicagotribune.com/2013/04/29/marathon-finish-for-masterful-evgeny-kissin/

Rheinberger, H.-J. (1992). Experiment, Difference, and Writing: I. Tracing Protein Synthesis. Studies in History and Philosophy of Science, 23(2), 305–331.

Rheinberger, H.-J. (1997). Toward a History of Epistemic Things: Synthesizing Proteins in the Test Tube. Stanford University Press.

Richard, J. B. (2021, November 3). Le dicible dans les silences de l’activité spectatrice. Se taire, écouter, (en) parler, Université de Lorraine.

Richter plays Beethoven-Last Three Sonatas. (n.d.). Gramophone. Retrieved April 1, 2024, from https://www.gramophone.co.uk/reviews/review?slug=richter-plays-beethoven-last-three-sonatas

Sacks, J., Wolff, R. W., & Jaramillo, A. M. (2013, June 11). Investigation into Background Noise Conditions During Music Performance. International Symposium on Room Acoustics, Toronto.

Satie, E., & Volta, O. (1989). Satie Seen Through His Letters. M. Boyars Publ.

Sava-Segal, E. (2021, April 8). Maria João Pires reveals her poetic pianism in rare Aix appearance. bachtrack. https://bachtrack.com/review-video-maria-joao-pires-festival-paques-aix-en-provence-april-2021

Schafer, R. M. (1977). The Soundscape: Our Sonic Environment and the Tuning of the World. Simon & Schuster.

Schechner, R. (2013). Performance Studies: An Introduction. Routledge.

Schmidt-Pirro, J. (2006). Between the European Avant-Garde and American Modernism: George Antheil’s “Ballet Mécanique.” Soundings: An Interdisciplinary Journal, 89(3/4), 405–429.

Schnebel, D. (1969). Mo-No Music to Read | Musik zum Lesen. MusikTexte. https://www.soundohm.com/product/mo-no-music-to-read-musik

Schweiger, E., & Wilde, J. H. de. (2018). Listening to Silence: “Targeted Killing” and the Politics of Silence in Customary International Law [Doctoral Dissertation]. University of Groningen.

Silverman, K. (2010). Begin Again: A Biography of John Cage. Knopf Doubleday Publishing Group.

Slate, N. (2014). Du Bois, Langston Hughes, Paul Robeson, and the problem of the twentieth century. Springer.

Smit, L. (1971). Stravinsky: A Composer’s Memorial. Perspectives of New Music, IX(2).

Sorensen, R. (2009). Hearing Silence: The Perception and Introspection of Absences. In M. Nudds & C. O’Callaghan (Eds.), Sounds and Perception: New Philosophical Essays (p. 0). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199282968.003.0007

Takemitsu, T., & Ozawa, S. (1995). Confronting Silence: Selected Writings. Scarecrow Press.

Talbot, M. (n.d.). Philosophy of language and mind. Retrieved November 7, 2023, from https://podcasts.apple.com/us/podcast/philosophy-of-language-and-mind/id381704095?i=1000410346843

Toop, D. (2005). Haunted weather. Serpent’s Tail.

Towles, A. (2016). A Gentleman in Moscow. Windmill Books.

Voegelin, S. (2010). Listening to Noise and Silence: Towards a Philosophy of Sound Art. Continuum. https://doi.org/10.5040/9781501382901

Walsh, T. (1992). The Cognitive and Mimetic Function of Absence in Art, Music and Literature. Mosaic: A Journal for the Interdisciplinary Study of Literature, 25(2), 69–90.

Whitesitt, L. (1989). The Life and Music of George Antheil, 1900-1959. University of Michigan Press.

Zhang, L. (2021, February 20). Presentation on Framing in Chinese Contemporary Cinema. Framing, Mirrors Conference. New York University Film School.

Zyl, J. van. (2018, September 6). Hashtag_blacknoise. SoundCloud. https://soundcloud.com/hashtag_blacknoise