This research delves into the cultural evolution of Silence, examining its existential shift from a negative and absent concept to a positive, expressive interpretation, spanning from the post-World War II era to the contemporary context. It focuses on Silence's role within the realm of composition, particularly how it has transitioned from being perceived as a void to a medium for creative expression.Prominent figures such as John Cage have challenged the traditional notion of complete soundlessness, advocating for Silence as a distinct carrier of meaning and a unique listening experience. Salomé Voegelin underscores the interplay between Silence, modes of listening, the human body, and the auditory environment in conveying transient, ineffable experiences.Scholars like Kurzon and Dauenhauer contend that Silence cannot be divorced from speech and discourse, with its meanings emerging from their intricate dynamics. This study seeks to amalgamate these diverse perspectives into a unified concept of Silence as a listening modality and to comprehend its application in Latin American Minimism as a way of resistance against Silencing in the post-colonial era.Utilizing the framework of Existential Semiotics and Semiotics of Resistance as proposed by Eero Tarasti, this work condenses complex historical and social processes into musical situations, providing a comprehensive perspective on Silence's transformation in sound aesthetics. It elucidates Silence's dynamic and multifaceted role in contemporary auditory perception.