Silence, over the language and its structure, could question or resist the dualism between genders. These particular silences in the work musically empower the other sounds in the piece (and from the environment) and conceptually emphasise the official historiography’s hesitations to include women in musical canons. Through the listening at the work on cassette tape diffused in different urban spaces, the public context shifts into possible agoras, a collective time, where some questions on the matter have sometimes resonated.