In music and in the psychoanalytical practice alike, silence occupies a central place. We sought, in the present work, to interrogate this silence, assuming to find in it, a possible intersection between the two fields. In music, silence appears, first of all, as that which structurally denies it, allowing it, thus, to exist. It is the emptiness that confers to sound, its form. On the other hand, silence, sometimes imposed on music itself, also appears in the fact that music raises problems associated with ethics and politics. In psychoanalysis, silence, also having a structural position, leads to the freudian invention called the drive. The drive, being a myth, is a condition to the appearance of a subject and to the possibility of the language being`s ethical choice. Jacques Lacan revisits the drive circuit of Freud and its four terms indicating that it goes around something: the a object. Object cause of anguish and desire, the a object appears under many forms in the levels of subjective development, namely, verbal, anal, phallic, scopic and vocal. With Lacan, we see that the voice is the beastly roar of the dying father, the scream of a sacrificed god who haunts the language. It`s a quiet but present voice, with effect in the Real. Being a way of silencing this voice, of stifling it, music paradoxly also propagates this object in a privileged way creating thus an emptiness which we propose, closing the circuit, to name in another way: silence.