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An autoethnographic account is given in order to depict the building of the author's musical subjectivity through the specific modes of cross-generational and peer-to-peer interaction involving material and emotional investments, discursive constraints, and transgressions. The event of discovering the “sound of silence” is brought in contrast to the more encoded experiences of classical music, especially operatic. Emotionally charged musical events and rituals are revisited (narrated) together with accounts of transgressing the boundaries of inherited musical environments and learned patterns of musical appreciation.