Daryl Jamieson

composer

Shō and u: lecture at IRCAM 15 March 2022

Shō and u: An exploration of physical and generic limitations through a decade of collaboration with Ko Ishikawa

I will be giving a lecture about my own works for shō and u at IRCAM in Paris (I will be joining remotely) on 15 March 2022. My lecture will be followed by a lecture analysing my piece Fallings (2016) for shō (u), viola, and cello, given by musicologist François-Xavier Féron. My lecture will be in English, Féron's in French.

You can watch the archived recording of the lectures below, or check IRCAM's webpage.



My complete works for shō and u (in solo or chamber settings) are:
Spectral (for Kazuo Ohno) (2012)
fallen fragments (2015)
Fallings (2016)
Stravaig (2017)
Descants 1 (2020)

Click the image below to see the full 3-page pdf.
Programme séminaire 13_15.03.2022

Feldman meets freq

From 18-20 Feb, a series of five concerts will be held in the Acoustics Building of the Faculty of Arts and Engineering of Kyushu University. 'Feldman meets freq' focusses on musicians from Fukuoka who have been influenced by Morton Feldman (and the surrounding composers).

Support: Asahi Group Arts Foundation, Grant-in-Aid for Scientific Research Designing the experience of listening to sound as the contact point between two cultures [19K21615].


ポスタ220131チラシ0203

New paper out

My paper 'Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach' focussing on Tsunoda Toshiya's Somashikiba (2016) was published 27 February 2021 in the Journal of Aesthetics and Art Criticism.

Abstract
Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art: an art—like field recording—which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this article, Toshiya Tsunoda’s exemplary Somashikiba (2016)—recorded in locations forgotten by civilization—will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo’s poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically and politically engaged art. Looking, as these contemporary Japanese thinkers have done, to the precapitalist, pre-formalist past to rediscover (sound) art’s function as a medium which reconfigures the listener’s perception of reality, I argue for the urgency of sound art such as Tsunoda’s which aids in the re-enchantment of the world to a future beyond capitalist, humanist “civilization.”

12 June 2020 – Galerie Paris shō and koto concert in Yokohama

I'm excited to announce my second collaboration with Galerie Paris, a lovely contemporary art and fashion gallery in Yokohama. This concert, a co-production of atelier jaku with Galerie Paris, will feature two masters of contemporary music on their traditional Japanese instruments, Ko Ishikawa on shō and Miyama McQueen-Tokita on koto. The programme includes two of my pieces.

fallen fragments is a solo shō piece, written for Ko Ishikawa as a study for the larger fallings for shō and u, viola, and cello. Have a listen to that piece on Soundcloud or see it on YouTube.

parting song is a short piece written for and premiered by Nobutaka Yoshizawa. It's based on a Chinese folk melody.

The full programme for the concert is:

Daryl Jamieson – 'fallen fragments' for shō
Daryl Jamieson – 'parting song' for koto
Toshi Ichiyanagi – 'Hakkō' for shō and koto
Mamoru Fujieda – 'Patterns of Plants: the eleventh collection' for shō and koto
Chiharu Wakabayashi – 'tamayura…momentariness IV' for koto
Juha Koshiken – 'Jinkō' for shō and koto
Improvisation for shō and koto

Time: 12 June 2020, doors open at 18:30, concert starts at 19:00.

Tickets: Reserved tickets at ¥3000 (¥1500 for students), including a reception after the performance.

Venue: Galerie Paris Nihon-Ōdori 14, Naka-ku, Yokohama

See more details and reserve tickets on atelier jaku's home page.

Mosaïque CD release

Today Montréal-based pianist Kimihiro Yasaka released his new CD ‘Mosaïque’ in Japan (I don’t know when it will reach other markets). My 2012 piece ‘Mountain / Cherry / Blossoms’ is included on the disc. Check it out on Amazon Japan or listen on Spotify below!

619lkLNWz9L._AC_SL1500_