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| Hollow Sounds: Toward a Zen-Derived Aesthetics of Contemporary Music | ||
| 作者 | Jamieson, Daryl (著) |
|---|---|
| 出處題名 | The Journal of Aesthetics and Art Criticism |
| 卷期 | v.76 n.3 Summer |
| 出版日期 | 2018 |
| 頁次 | 331 - 340 |
| 出版者 | Wiley |
| 出版者網址 | http://onlinelibrary.wiley.com/ |
| 出版地 | Hoboken, NJ, US [霍博肯, 紐澤西州, 美國] |
| 資料類型 | 期刊論文=Journal Article |
| 使用語言 | 英文=English |
| 附註項 | Author Affiliation: Showa College of Music, Japan. |
| 摘要 | 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. |
| 目次 | ABSTRACT 331 I 331 II 332 III 334 IV 336 V 338 REFERENCES 339 |
| ISSN | 00218529 (P); 15406245 (E) |
| 點閱次數 | 44 |
| 建檔日期 | 2024.06.26 |
| 更新日期 | 2024.07.02 |
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