The hidden parts

[Olivier Malhomme <malhomme@infobiogen.fr>]

I do think that music like language has an interesting part of its content
in the "non-said", a fonction of implicit.
Thins was too me a major lack in the structuralist theory, to forget this
part of the language. I of course can say exactly the same word with the
same tone to  2 different people and convey 2 different meanings. By the
same way if you change a sentence A, it changes obviuosly the sense of the
B one following. Implicit  require an agreement, even
implicit (!)  between the , at least, 2 persons concerned. Maybe we are
tempted to forget that music has got this implicit part too, and that we
should not demonstrate every "word". It require a certain amount of trust
for in the listener (whoops). It is clear that J.S. Bach was master of
this. It is very clear too in the cello sonatas where you can actually
hear sometimes 2, 3 voices playing and developpinf their counter point
although the lines are almost monophonic all the time.
You could spend anyway time to write down in extenso each voice, and you
would write down a lot more than what it's written in the score. So, most
of the music is not said, "implicit", so and you can perfectly "hear"it.

That require certainly, I guess a level of work that is far beyond the
common. Most of people I know (including me, of course) are just ar best
mastering the obvious.

Olivier