Hollow Sounds: Toward a Zen-Derived Aesthetics of Contemporary Music

研究成果: ジャーナルへの寄稿学術誌査読

2 被引用数 (Scopus)

抄録

To attempt to fill a perceived gap in Japanese aesthetics concerning music, this article sketches a possible way into conceptualizing 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 analyzed. The final section addresses the differences between this method of understanding via nothingness and traditional Idealist approaches via the Absolute.

本文言語英語
ページ(範囲)331-340
ページ数10
ジャーナルJournal of Aesthetics and Art Criticism
76
3
DOI
出版ステータス出版済み - 6月 1 2018
外部発表はい

!!!All Science Journal Classification (ASJC) codes

  • 視覚芸術と舞台芸術
  • 哲学
  • 音楽

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