Daryl Jamieson



最近執筆した学術論文が、美学雑誌「Journal of Aesthetics and Art Criticism」に発表されました。「虚音:禅由来の現代音楽の美学に向かって」という論文です。現代音楽の聴き方/解釈の仕方が日本の哲学(特に京都学派の美学)にどう影響を受けたか、についてです。また、「Aesthetics for Birds」という美学ブログが簡単な要約を投稿してくれています(英語、無料)。

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