在展示女孩内心世界的过程中，观众实际上可以认出他们自己。此外，音乐还有Tze Yue和胡所说的“不”元素。作者声称，音乐中的“无”因素被认为是非行动、静止或空间和时间感的因素。它被称为主人公无声的呼吸。这也被称为“马的艺术”。这里的背景音乐也与主角停顿。作者声称，它不是主角，但他们没有做什么来吸引观众。同样，电影中的马运动也是以沉默为特征的。这里暂停可能持续五秒以上。这样的停顿是在电影“龙猫”看到，这里的观众觉得他们被运送到电影本身。在龙猫，音乐在不同的意义上是怀旧也。例如电影从家乡或furusato然后到夏天的时候。所谓的视觉运动的反映，这是一个没有表现在背景音乐和龙猫APT运动提供（Tze Yu和胡）。介绍日本职业音乐总监久石让对为什么这个’不’的因素如“龙猫”，作者Cavallaro提出，西方观众会不到3分钟的背景音乐不舒服。对于一个非日本电影的自然状态是有某种形式的背景音乐，所有的时间（Cavallaro）。在风之谷的情况下，久石让提出了一个和弦序列，完全掩盖了“无”的元素。这里有一个非常强大的电子存在比看到任何其他宫崎的电影。有重复自己在这首歌中的元素（Caneva），但是在这里，听者可以感受到独特性，总是与宫崎骏电影相关。
In presenting the innermost world of the girls, the audience can actually identify them self with them. In addition the music also has what Tze-Yue and Hu name the ‘no’ element. Authors claim that this ‘no’ factor in music are seen to be elements of non-action, rest or feelings of space and time. It is what is termed as a silent breath of the protagonist. This is also termed as the ‘art of ma’. Here the background music also pauses with the protagonist. Authors claim that it is not what the protagonist does, but what they don’t do that entices the audience. Similarly the ma movements in the movie are characterized by silence. Here the pause might last for more than five seconds. Such a pause is seen in the movie ‘My neighbor Totoro’, here the audience feels that they are transported to the movie itself. In Totoro, the music is nostalgic in a different sense also. For instance the movie shifts from the hometown or the furusato and then to the summer time. Called the reflection-in-vision movement, this is an apt movement to have a no performance in the background score and Totoro delivers that (Tze-Yu and Hu). Presenting the Japanese career music director’s Joe Hisaishi’s take on why this ‘no’ factor as seen in ‘My neighbor Totoro’, author Cavallaro presents that a western audience would be uncomfortable with less that 3 minutes of no background music. The natural state for a non-Japanese movie is to have some form of background music all the time (Cavallaro). In the case of Valley of the Wind, Joe Hisaishi presents a chord sequence that completely belies the ‘no’ element. Here there is a very strong electronic presence than is seen in most other Miyazaki’s movies. There are elements that repeat themselves in this song (Caneva), but here again the listener can feel the uniqueness that is always associated with Miyazaki’s movies.