Daryl Jamieson


World Music Days 2019

I'm excited to head off to Estonia for the 2019 World Music Days in Tallinn and Tartu. In addition to representing the Japan Society of Contemporary Music at the assembly, I will also have a piece performed. On 7 May, Kristi Mühling (kannel) and Naoko Kikuchi (koto) will premiere a new arrangement of my 2015 piece 'Shakkei' (originally for guitar and 17-string koto) at the Arvo Pärt Centre (concert details here and Facebook event here).

If you're at the WMD this year, I look forward to seeing you there!

25 May 2019 - utamakura 4: St Dunstan in the East

My next concert in Japan will be on 25 May. In addition to the world premiere of my own piece utamakura 4: St Dunstan-in-the-East, brand-new arrangements of two collections of Mamoru Fujiedas Patterns of Plants series - Pattern of Plants the 19th: The Olive Branch Speaks and Pattern of Plants the 21st: The Oak Tree in Kanazawa - will be performed at the Cave in Yokohama.
Come and join us there!
For more details, see the
atelier jaku website.

23 February 2019 – Galerie Paris chamber concert in Yokohama

I'm excited to announce the first of what I hope will be many collaborations 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 excellent contemporary music specialists, Gaku Yamada on guitars and Ryuta Iwase on clarinet. The programme includes two of my pieces.

Goodbye my son is a duo for clarinet and guitar. It was written for the opening and closing scenes of the short film Goodbye, my son (2017), directed by Yuichiro Nakada. The soundtrack was recorded by the same two musicians as will be finally giving the live première, more than a year later.

Gaku Yamada will also give the second performance of utamakura 1: ponds of Nara (cf this video of utamakura 2: Arnardalur, which was premièred on 6 September and utamakura 3: Saihōji, premièred in November). Ponds of Nara is my first and only piece for electric guitar, and I'm still finding my feet with electronics and field recordings, so this piece was quite an experiment for me. An excerpt from the programme notes:

utamakura 1: ponds of Nara is based on three famous Nara ponds – Kasuga Shrine, Sarusawa Pond, and Katsumata Pond – associated with springtime, the love-suicide following an imperial affair, and ephemerality, respectively.

The full programme for the concert is:

Daryl Jamieson – utamakura 1: ponds of Nara for electric guitar and field recordings
Daryl Jamieson – Goodbye my son (world premiere live performance) for clarinet and guitar
Alex Jang – momentary encounter (5) (Japanese premiere) for clarinet
Giacinto Scelsi – Preghiera per un'ombra for clarinet
Daniel Brandes – with our shadows for clarinet and guitar
Makiko Nishikaze – St Michael's Garden for guitar

Time: 23 February 2019, 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.

utamakura 3: Saihōji

On 10 November 2018, atelier jaku presents the first of a three-part series of concerts called the ‘Garden Series’. In this concert, the first half will feature new-music icon John Cage’s seminal Ryoanji for oboe and voice. Daryl Jamieson’s new piece utamakura 3: Saihōji for voice, cor anglais, and percussion with field recordings fills the second half.
Please join performers Yakushiji Noriko (voice), Unagami Nagisa (oboe/cor anglais), and Aita Mizuki (percussion) for a music event aimed at all five senses: including an art installation (Portable Garden) by regular atelier jaku collaborators Setsuami and Takeyama Keisuke, bespoke incense (Natura in minima maxima) and two specially-commissioned cocktails.

Tickets:    ¥3500
Drinks (including two bespoke cocktails) and food are available, but are not included in the ticket price.
Tickets are available to be purchased from atelier jaku directly (website).

Location:  Isezaki Bar 333
      1-3-1 Isezaki-chō, Naka-ku, Yokohama, Kanagawa
      (3 minutes walk from Kannai station on the JR Keihin Tōhoku/Yokohama/Negishi lines, or Yokohama subway's Blue Line)

'Hollow Sounds' Published

My first journal article since 2007 has been published in the Journal of Aesthetics and Art Criticism. The paper is called ‘Hollow Sounds: Toward a Zen-derived aesthetics of contemporary music’. It develops how my reading of Japanese philosophy (especially Kyoto School philosophy) has influenced how I listen. The aesthetics blog ‘Aesthetics for Birds’ has a summary I wrote up on their website, which is free to access.

Abstract: To attempt to fill a perceived gap in Japanese aesthetics concerning music, this paper sketches a possible way into conceptualising a Zen- or Kyoto-school-derived aesthetics of contemporary music. Drawing principally on Kyoto-School philosopher Ueda Shizuteru’s theories of language’s three levels (signal, symbolic, and hollow words), the author proposes a similar distinction between different kinds of musical experience. Analogous with Ueda’s analysis of poetry, the oscillation of signal or symbolic sound and hollow ones is found to be what gives certain contemporary music its spiritual power. By applying this poetic-religious theory of language to music, an entirely new way of understanding contemporary music becomes apparent. As test case of this new approach, Morton Feldman’s 1970 work The Viola in My Life (2) is analysed. The final section addresses the differences between this method of understanding via nothingness and traditional Idealist approaches via the Absolute.
Keywords: Kyoto School, Ueda Shizuteru, Morton Feldman, Jonathan Harvey, aesthetics of contemporary (atonal) music