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Edward Harrison — “El Silencio:” A Percussive Ode to Resonant Memories

Abstract:

In the realm of percussive endeavors, my recent composition, “El Silencio,” for maracas soloist and percussion ensemble, explores the convergence of personal experiences and cultural encounters. Rooted in my formative years in Caracas, Venezuela, the piece uniquely incorporates a maracas playing technique discovered during my time in the vibrant cultural tapestry of Caracas. This technique not only shaped my approach to percussion but also serves as a poignant memorialization of a significant event in the historical landscape of El Silencio.

The genesis of “El Silencio” was born out of a dual inspiration—the literal translation of the title, “the silence,” and a deeper connection to the El Silencio neighborhood in Caracas. Initiated by witnessing the virtuoso maraca performances of Máximo Briceño Teppa, the composition encapsulates invaluable lessons gleaned from studying with this maestro. The backdrop against which the piece unfolds extends into the socio-political landscape of 1980s Venezuela, with El Silencio becoming the stage for a tragic episode in 2002—a peaceful protest that spiraled into violence, resulting in 19 lives lost and 127 individuals injured.

Motivated by the need to etch this somber episode into collective memory, “El Silencio” serves as a musical memorialization of the 2002 protests. The composition captures the complexity of emotions—the ensuing silence, lingering grief, and the resilience of the human spirit. Collaborating with the Roosevelt University Percussion Ensemble brought the piece to life, adding layers of depth and underscoring the collective responsibility artists bear to engage with the world.

In conclusion, “El Silencio” stands as a testament to the transformative power of music, inviting reflection on the interplay between art and history, the personal and the communal, offering a resonant exploration of memory, sound, and the enduring capacity of music to transcend boundaries.

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Publication date:

ISSN: 2792-8349

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International Journal of Music

Introduction

In the realm of percussive endeavors, the genesis of artistic inspiration often emerges from the convergence of personal experiences and cultural encounters. This article delves into the intricacies of my recent composition, “El Silencio,” a piece for maracas soloist and percussion ensemble. Rooted in my formative years spent in Caracas, Venezuela, the composition encapsulates not only a unique approach to maracas playing that I chanced upon but also serves as a poignant memorialization of a significant event in the historical landscape of El Silencio.

The Maracas Revelation

Upon the conclusion of my academic journey, I found myself immersed in the vibrant cultural tapestry of Caracas. It was during this time that I serendipitously discovered a distinctive maracas playing technique, which would profoundly influence my rhythmic sensibilities. The technique, embedded in the cultural fabric of Caracas, has been instrumental in shaping not only my approach to percussion but also the trajectory of my artistic expression.

Musical Explorations

The composition of “El Silencio” was born out of a dual inspiration — the literal translation of the title, “the silence,” and a deeper connection to the El Silencio neighborhood in Caracas. This particular district holds a special place in my heart, as it was there that I had the privilege of witnessing the virtuoso maraca performances of Máximo Briceño Teppa. My initiation into the world of maracas was grounded in the invaluable lessons gleaned from studying with this maestro, an experience that left an indelible mark on my artistic journey.

Socio-Political Undercurrents

The backdrop against which “El Silencio” unfurls is not confined to musical realms alone; it extends into the socio-political landscape of 1980s Venezuela. The country, then a democracy, has undergone substantial transformations since. In 2002, El Silencio found itself thrust into the spotlight as the stage for a protest against the government. Regrettably, this peaceful demonstration spiraled into a tragic episode marked by pro-government forces, ensuing violence, and a devastating toll of 19 lives lost and 127 individuals injured.

A Sonic Commemoration

Motivated by the need to etch this somber episode into the collective memory, I composed “El Silencio” as a musical memorialization of the 2002 protests. This composition serves as a vessel through which the echoes of the past resonate, a sonic testament to the lives affected by the tragic events in El Silencio. The piece captures the complexity of emotions — the silence that ensued, the grief that lingered, and the resilience of the human spirit in the face of adversity.

Collaborative Realization

To bring “El Silencio” to life, I collaborated with the talented musicians of the Roosevelt University Percussion Ensemble. The collaborative process not only added layers of depth to the composition but also underscored the collective responsibility we bear as artists to engage with the world around us. Through our collective efforts, we sought to weave a sonic narrative that pays homage to the lives lost and the indomitable spirit of those who endured.

Conclusion

In the realm of percussion, where rhythm and emotion converge, “El Silencio” stands as a testament to the transformative power of music. Beyond its melodic intricacies, the composition invites listeners to reflect on the interplay between art and history, the personal and the communal. As a percussionist, educator, and witness to the evolving socio-political dynamics of Venezuela, I offer “El Silencio” as a resonant exploration of memory, sound, and the enduring capacity of music to transcend the boundaries of time and space.

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