Silence defines sound, framing it and giving it meaning. Contemporary music engagements with silence have infiltrated Australian school music education practices through the work of three seminal composer-educators. This selective historical sweep is infused by the personal. I was an inspired early adopter of exploratory creative approaches permeated by silence. I adopt an autoethnographical approach punctuating history with first-hand vignettes. In 1939 provocative American modernist composer John Cage (1912-1992) published Silence, an extended manifesto. In 1952, he created and performed the iconic work “4’33” in which performers are instructed not to play. Twenty-years later, I was one such performer. Silence became the focus of listener experience. Once legitimised, intentional silence infiltrated composition and music education. In 1967 George Self (1921-2001) devised ensemble improvisations suitable for schools, the first being “Sound/silence.” In 1970 another prolific British composer/educator John Paynter (1931-2010) published (with Peter Aston) the revolutionary Sound and Silence, which comprised increasingly complex classroom projects in creative music. The first attends to instrumental sounds punctuated by deep silences. Canadian composer/educator R. Murray Schafer (1933-2021) asserted the silence is a container for musical events, it is valuable, increasingly lost, and a focus of modern composers. Evocatively he described silence as “a pocket of possibility.” As a young music educator, I embraced these provocative, inspirational ideas. Murray Schafer toured Australia, speaking charismatically to a crowd including me. His ideas, bolstered by those of Cage, Self and Paynter, gradually permeated Australian school music practice. I was a witness to this, becoming a disciple and practitioner of creative compositional approaches to music teaching and learning.
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