Quietness as a Reflection of an Aesthetic Concept in Contemporary Music

This article examines the theoretical understanding of quietness and its significance in contemporary culture. Quietness is explored as a cultural phenomenon, defining its cultural and philosophical significance. It also highlights the different forms found in the culture, such as pauses, fading sound, stillness, and tranquillity. The paper analyses the interaction and mutual reversibility of noise and music. It treats this process as a natural progression in music art development. A new notion of quietness' functional specificity in music composition is introduced in the article: the ‘quiet’ finale, the non-culminating finale, the postlude, and the fading of the sound.

The monograph examines the poetics of quietness in contemporary musical art and examines the different forms of stillness in culture. The paper explores the multi-dimensional nature of stillness, encompassing both existence and interpretation, drawing on Cage and Schiarrino interpretations. The author explores the poetics and manifestations of quietness in musical works, examining the 'movement pattern' of quietness in compositions and attempting to classify culminations involving the concept of quietness.

Quietness is seen as a figurative and semantic universal that connects different artistic tendencies and enables the synthesis of different art forms. Its significance in music is evidenced by composers such as Gubaidulina, Schnittke, Cage, Nono, Mahler and Pärt, who consistently use it as a stylistic characteristic.