| JAMIESON DARYL STEVEN（ぜみそん だりる すていーぶん） | データ更新日：2024.04.05 |
助教 ／
芸術工学研究院
音響設計部門
| 1. | Daryl Jamieson, Does a sound have Buddha-Nature? : Kegon thought and the aesthetics of sound, International Society of East Asian Philosophy, 2023.09, In his 2013 book 'Homo audiens' (English trans. 2022), composer and musicologist Jo Kondo outlines his interpretation of music as the interrelationship between notes, each of which ‘has its own entity and life’ and yet is only meaningful in relationship with other notes, an assertion which echoes 15th-century nō composers Zeami’s and Zenchiku’s writings on the life and death of each note in a nō performance. Though in his own writing Kondo restricts himself to the tradition of western aesthetics, in a 2023 interview he acknowledges that his system of musical interpretation is rooted in the Kegon (華厳) Buddhist concept of Indra’s Net (which illustrates the idea of ultimate reality as the ‘unimpeded interpenetration of phenomena and phenomena’ jiji muge hokkai 事事無礙 法界). In this experimental paper, I will explore the aesthetic implications of this idea: is a listener’s interpretation of the relationships between sounds in a musical work (‘work’ defined as broadly as possible, inclusive of all forms of deep, active listening, from contemporary sound art to nō to Dōgen hearing a sūtra in the voices of monkeys) merely a metaphor for the ‘unimpeded interpenetration of phenomena and phenomena’, or is it an example of it? What are the implications for the interpretation of all types of music and sound art if sounds – like other non- sentient (hijō 非情) phenomena such as water and mountains – have Buddha-nature (busshō 佛性)? And does this interpretative frame have ethical implications for interpreters – listeners, composers, and performers – of music and sound-art in this age of imminent environmental collapse?. |
| 2. | Daryl Jamieson, Mekari: theory and musical-dramatic practice , ISLANDS IN THE GLOBAL AGE, 2023.03. |
| 3. | Daryl Jamieson, Place, time, and the non-human Influences of mediaeval Japanese thought on my Descants series for solo instruments in natural environments, Music and Transcendence in a Posthuman Age, 2023.02, In my recent work – engaging with eschatological Buddhist mappō thought (Vanitas series, 2014-17) and the changing nature of the environment over centuries as preserved in cultural memory (utamakura series for instruments and field recordings, 2018-2022?) – I have explored the interconnectedness of human and non-human sound in works for the concert hall through the lens of Zen and Kyoto School aesthetics. When concerts became impossible during most of 2020, I began to reevaluate the event of musical performance itself in my practice, particularly the sterile, exclusionary rooms in which most concertising is done. Without diminishing the role of field recordings as a method for bringing a particular sonic environment to an audience or for providing raw material for the composer to work with, covid restrictions pushed me to reimagine how I might structure a piece of composed music so that it could function as an exercise in inter-being (broadly defined) communication rather than a one-way pronouncement from a controlling ‘composer’. The result of this reflection is the five-part Descants series (2020-21) for solo instrumentalist (shō [doubling u], high voice, objects, viola, and shakuhachi respectively) in an outdoor location. In this artist talk I will discuss the mediaeval Japanese concepts of time (the premodern clock), place (onmyōdō), and buddhahood of non-humans (sōmokujōbutsu) which informed the creation of the Descants series. I will also discuss the first performances of four of the pieces, the spiritual significance of the chosen performance locations, and how the freedoms composed into the works were interpreted by different performers in different locations and times. The recordings of these performances – which make use of a variety of microphones in unusual configurations in order to decentre the composed music and introduce a sense of uncanniness, as if listening through non-human ears – document unique instances of communication between the environment, performer, and composer. It is hoped that these pieces afford being heard soteriologically, potentially opening listeners – including the performers and composer – up to a deeper understanding of the limitless potentiality (hollowness; emptiness; nothingness) of the world. . |
| 4. | Daryl Jamieson, Creating non-fiction theory and musical-dramatic practice, UN/REAL: Transcultural Perspectives on Digital Living, 2022.11, What does it mean for an artwork, a story, or a piece of music to be fictional or non-fictional?. |
| 5. | Daryl Jamieson, Being at play in the twofold sonic world: Cassandra Miller’s Duet for Cello and Orchestra through the lens of Ueda Shizuteru’s aesthetics , The Regional Association for East Asia of the International Musicological Society (IMSEA), 2022.10, The aesthetics of Ueda Shizuteru focusses on the potential afforded by certain artworks to illuminate, if only for an instant, the true nature of reality – an ontology which for him and other philosophers of the Kyoto School is a twofold world of conventional reality enveloped in a hollow expanse of limitless possibilities. Though Ueda’s aesthetics is principally concerned with poetry, artwork, and the traditional Japanese music theatre form nō, in this paper I will develop the argument that music in the experimental tradition – ‘non-fictional’ music which plays with and defamiliarises our sense of expectations about conventional reality rather than building a fictional sonic world – affords being listened to, analysed, and understood in a similar manner. Listening through the lens of Ueda’s aesthetics brings a radical new sense of meaning to experimental music, and offers a new aesthetic tool for understanding the spiritual/emotional affect of music which falls outside the mainstream of the contemporary avant-garde. As a case study, I will analyse Cassandra Miller’s Duet for Cello and Orchestra (2015), a piece which is based on Miller’s painstakingly accurate transcription of an Italian folksong performed by Maria Carta, ‘Trallallera’. I will show how, through its transcription/appropriation of a found sonic object as well as in the clearly-defined (but then subverted) roles of the cello and orchestra, Duet plays with distorted reflections of ‘reality’ and thence reveals the hollow artificiality of our conventional mental constructs of form, genre, culture, and ‘reality’ itself.. |
| 6. | Daryl Jamieson, Is nowhere free of bad tidings?: Artistic response to the climate crisis through Japanese mappō thought , Yin-Cheng Buddhist Studies Network and the From the Ground Up Project, 2022.10, Over a three year period from 2014-17, as part of my artistic research into aspects of Japanese philosophy and aesthetics that could be usefully revived in response to the climate crisis, I wrote and produced three music-theatre works collectively titled the Vanitas series. The first, a monoopera called Matsumushi addressed Japanese conceptions of landscape through the Buddhist syncretic aesthetics of Zenchiku’s nō. The second, a wordless music-theatre ritual for shō (doubling u), viola, and ‘cello called fallings took as its focus the fugal nature of overlapping cyclical patterns of rising and falling (focussing, per the title, on the latter), with mappō as the central conceptual frame. The final part of the trilogy, Is nowhere free of bad tidings?, for shakuhachi, 2 kotos, biwa, and percussion, was a site-specific work for Ichijō Ekan Sansō garden in Kamakura structured around Kamo-no-Chōmei’s lament for the fallen age he was living through, Hōjōki. It included eschatological texts from both mediaeval Japan and mediaeval Latin sources, and was recognised as the winner of the 2018 Ichiyanagi Toshi Contemporary Prize, with Ichiyanagi saying that the work is ‘based on a deep consideration of the flux of Japanese history’ and that it ‘succeeds in theatrically expressing … the transient spirit of various times and societies, rendering a picture of the world darkly tinged by the harshness of reality’. In this paper I will delve into the aspects of Japanese mappō thought which inspired this series, showing how they can inform works (with narrative texts, collage texts, or no texts) which are explicitly about contemporary environmental degradation. The series title, Vanitas, refers back to a 16th-17th-century style of painting in the Netherlands (as well as to Salvatore Sciarrino’s 1983 opera of the same name), and there is an underlying theme of comparing the Christian and Japanese Buddhist eschatological artistic traditions through the pieces which I will also discuss. Through my explication of the Vanitas series and its mediaeval Japanese inspiration, I will show the practical contemporary uses of mediaeval Japanese Buddhist aesthetics for writers, interpreters, and audiences of music and theatre wishing to find alternative ways of addressing the climate crisis today. . |
| 7. | Daryl Jamieson, Graham Eatough, Miek Zwamborn, Tilly Coulton, FLOATING WORLDS: THE SEAWEED GATHERERS, ISLANDS IN THE GLOBAL AGE, 2022.09, The Seaweed Gatherers performance will take place as the culmination of a three-day workshop led by director Graham Eatough, composer Daryl Jamieson (Kyushu University) and artist Miek Zwamborn. The workshop takes the Japanese Noh play, The Seaweed Gatherers (Mekari) as the basis for a contemporary exploration of seaweed, its cultural history, and its potential as a performance material. The performance will present extracts from Zwamborn’s book, The Seaweed Collector’s Handbook (2020) alongside original composition by Jamieson performed live. This research builds directly on a previous project involving Eatough, Jamieson and Zwamborn, working with artist Andre Dekker, Floating Worlds: Erraid Sound, a film made in 2021, co-produced by the Hunterian, and screened as part of the University’s activities during COP26. The workshop and performance forms part of the new University of Glasgow ArtsLab theme, Islands in the Global Age and will be followed by a discussion to which everyone is welcome. This project also extends the strategic partnership between the University of Glasgow and Kyushu University.. |
| 8. | Daryl Jamieson, Is nowhere free of bad tidings?: Artistic response to the climate crisis through Japanese mappō thought , FROGBEAR, 2022.10, [URL], Over a three year period from 2014-17, as part of my artistic research into aspects of Japanese philosophy and aesthetics that could be usefully revived in response to the climate crisis, I wrote and produced three music-theatre works collectively titled the Vanitas series. The first, a monoopera called Matsumushi addressed Japanese conceptions of landscape through the Buddhist syncretic aesthetics of Zenchiku’s nō. The second, a wordless music-theatre ritual for shō (doubling u), viola, and ‘cello called fallings took as its focus the fugal nature of overlapping cyclical patterns of rising and falling (focussing, per the title, on the latter), with mappō as the central conceptual frame. The final part of the trilogy, Is nowhere free of bad tidings?, for shakuhachi, 2 kotos, biwa, and percussion, was a site-specific work for Ichijō Ekan Sansō garden in Kamakura structured around Kamo-no-Chōmei’s lament for the fallen age he was living through, Hōjōki. It included eschatological texts from both mediaeval Japan and mediaeval Latin sources, and was recognised as the winner of the 2018 Ichiyanagi Toshi Contemporary Prize, with Ichiyanagi saying that the work is ‘based on a deep consideration of the flux of Japanese history’ and that it ‘succeeds in theatrically expressing … the transient spirit of various times and societies, rendering a picture of the world darkly tinged by the harshness of reality’. In this paper I will delve into the aspects of Japanese mappō thought which inspired this series, showing how they can inform works (with narrative texts, collage texts, or no texts) which are explicitly about contemporary environmental degradation. The series title, Vanitas, refers back to a 16th-17th-century style of painting in the Netherlands (as well as to Salvatore Sciarrino’s 1983 opera of the same name), and there is an underlying theme of comparing the Christian and Japanese Buddhist eschatological artistic traditions through the pieces which I will also discuss. Through my explication of the Vanitas series and its mediaeval Japanese inspiration, I will show the practical contemporary uses of mediaeval Japanese Buddhist aesthetics for writers, interpreters, and audiences of music and theatre wishing to find alternative ways of addressing the climate crisis today. . |
| 9. | Daryl Jamieson, Zenchiku’s Mekari:staging ambiguous and hollow worlds, GLASGOW-KYUSHU INTERNATIONAL CONFERENCE, 2022.03, [URL], Konparu Zenchiku (1405-c.1470) was the son-in-law of Zeami Motokiyo. Zeami is the most famous nō actor-writer-composer-showman-impressario, but Zenchiku brought nō back from the shōgun’s court to the temples, effectively resacralising the art form for a troubled, violent age. This paper will ask whether Zenchiku’s approach to theatre has anything to teach us as contemporary directors and creators and audiences in our own unstable era. Focusing on the under-appreciated play Mekari – which dramatises a ritual cutting of seaweed at the strait between the islands of Kyūshū and Honshū as the new lunar year dawns – the paper will explore how Zenchiku’s work plays with – crosses back and forth over – multiple physical, temporal, and spiritual boundaries in both its text and performance, leaving the audience with a sense of ambiguity and questioning the received wisdom of conventional reality. The paper will conclude with a look at Kyoto School philosopher Ueda Shizuteru’s concept of the hollow expanse, a place of limitless possibility. The paper will argue that the audience viewing these ambiguities cultivated by Zenchiku’s sacred dramas – via the music, words, and staging together – might themselves be given a glimpse into the radically open place of the ‘hollow expanse’. For us in the late-capitalist world, Zenchiku’s theory and practice of sacralised music drama offers a model of a theatre which communicates with that which lies beyond the boundaries and limits of our conventional human way of thinking – a possibility of moving beyond the instrumental conception of the world that has wrought so much destruction throughout the Anthropocene. 金春禅竹（1405-1470）は、世阿弥元清の娘婿である。世阿弥は能役者・作者・作曲家・興行師・興行師として最も有名であるが、善竹は能を宮廷から寺院に戻し、乱れた時代にあって能という芸術を効果的に再認識させることに成功した。本論文では、禅竹の演劇へのアプローチが、現代の不安定な時代に生きる私たち演出家、クリエイター、観客に何か示唆を与えるものであるかどうかを問う。 旧暦の新年を迎え、九州と本州の間の海峡で行われる海苔切りの儀式を描いた、あまり評価されていない『和布刈』に焦点を当て、禅竹の作品がテキストとパフォーマンスの両方で、いかに物理的、時間的、精神的な複数の境界線と遊び、交差し、観客に曖昧さを残し、従来の常識に疑問を投げかけるかを探求してみる。 本稿では、京都学派の哲学者である上田閑照の、無限の可能性を秘めた場所である「『虚』の世界」という概念を考察することで締めくくる。禅竹の聖劇が培ったこのような両義性を、音楽、言葉、演出が一体となって鑑賞する観客自身が、「『虚』の世界」という根本的に開かれた場所を垣間見ることができるかもしれない、というのが本稿の主張である。後期資本主義の世界に生きる私たちにとって、禅竹の聖なる音楽劇の理論と実践は、従来の人間の考え方の境界と限界を超えたところにあるものと交信する演劇のモデルを提供してくれる。 . |
| 10. | Daryl Jamieson, François-Xavier Féron, Shō and u: An exploration of physical and generic limitations through a decade of collaboration avec Ko Ishikawa, IRCAM, 2022.03, [URL], Over the past 10 years I have written five chamber or solo pieces for shō and/or u, all of which were written for Ko Ishikawa. These are Spectral (for Kazuo Ohno) (2012), fallen fragments (2015), fallings (2016), Stravaig (2017), and Descnats 1 (2020). Over these five pieces, I have been exploring the limits of what the shō and u can do. Working at the borders of instrumental and conventional limitations, I have been experimenting in order to discover where perceived limits are actual and hard (ie, immutable facts based in the physicality of the instruments), and where those limits are merely conventional and in reality quite porous (and thus able to be transcended). In this paper, by reexamining this decade-long process of collaboration and experimentation, I will show how my approach has changed/is changing through growing familiarity with the instrument (which I do not yet play myself), with its tradition, and with Ishikawa-san as a performer. I will share some of my conceptual approaches to composition and how they informed my approach to writing for the shō and u, and I will also introduce some of the practical results of these experiments – things that the instruments can and cannot do.. |
| 11. | Daryl Jamieson, Zenchiku and the resacralisation of nō: Zenchiku’s Primal Water and the case of Mekari, European Network of Japanese Philosophy, 2022.02, Though it was Zeami Motokiyo who first brought the art of nō to a point of popular perfection in the early 15th-century Kyoto, it was his son-in-law Konparu Zenchiku who took Zeami’s theatre for city-dwellers and courtiers and returned it to the sacred spaces of temples and shrines in Nara. Under the influence of new religious ideas both domestic and Chinese, Zenchiku refashioned nō as a spiritual drama, adjusting its focus from pleasing audiences and the military elite to pleasing the gods and enacting religious truths. This paper will look at the religious-philosophical background of both Zenchiku’s time and our own to see how Zenchiku’s innovations came about and how they function today. Recent scholarship has well documented, through the analyses of both men’s nō texts and treatises, how Zenchiku’s methods developed out of Zeami’s. In this paper, I will focus on structural differences between Zenchiku and Zeami's works, analysing the plays as performed pieces of music theatre (as opposed to static texts). This will reveal how Zenchiku’s understanding – as developed in his Six Circles, One Dewdrop treatise – of the novel mixture of Shintō, Buddhist, and Confucian religious and philosophical ideas which were circulating and interacting in the 15th century actually influenced the structure of his plays. I will also look at the kinds of responses his nō plays afford, addressing the question of their relevance to contemporary audiences. With reference to aesthetics as conceived by the members of the Kyoto School (especially Nishitani and Ueda), I will argue that Zenchiku’s innovative structures afford being experienced (and were intended to be experienced) as aesthetic events which open up our consciousness to what Ueda calls the ‘hollow expanse’. . |
| 12. | 西田紘子 ゼミソン・ダリル リシェツキ多幸 松村晶 柴田めぐみ 城一裕, コロナ禍における福岡の音楽活動を記録する, 日本音楽学会, 2021.07, [URL], Discussion of compositional activities and livestreaming during the first year of the Covid-19 pandemic. |
| 13. | Daryl Jamieson, Zenchiku’s hollow places: encounters with the non-human, International Association for Japanese Philosophy, 2021.03, Religious ideas in early 15th-century Japan were a heady mix of Shintō, Buddhism, and Confucianism. Having inherited the mantel of his father-in-law Zeami’s Zen Buddhist-inflected but largely secularised nō, Zenchiku took the art in a new direction – or recovered an old direction – by focussing his nō on the spiritual yearnings of souls both human and non-human. In this paper I will examine the contemporaneous syncretic religious thinking – including the animism of Shintō and original enlightenment of Tentai Buddhism – which informed Zenchiku’s spiritual turn. I will emphasise the plays Bashō, Kakitsubata, and Tatsuta in which the principal characters (the shite) are the spirits of, respectively, a banana tree, an iris, and red autumn leaves. In particular, I will ask – via third generation Kyoto School philosopher Ueda Shizuteru’s concept of hollow words – whether Zenchiku’s nō constitute ritualistic places wherein the human (the audience via the supporting actor [ie, the waki]) can encounter the non-human in a spirit of equality. Taking a close examination of Tatsuta as a performed music theatre ritual – a living event rather than static, dead words on a page – as a case study, I will argue that Zenchiku’s nō manifests a ‘place’ which affords being experienced as transcendent of the artificial boundaries of human and non-human. This place, interpreted in the light of Nishida’s place of absolute nothingness and Ueda’s hollow expanse, can be seen as a place of reconnection and reconciliation for us late- capitalist audiences, allowing us to glimpse – even if only on stage – a possibility of moving beyond the instrumental conception of nature that has wrought so much environmental destruction throughout the Anthropocene. I will conclude by arguing that Zenchiku’s plant-focussed oeuvre enacts a locus of limitless possibility by drawing from diverse streams of what – even his time – was ancient wisdom. 15世紀初頭の日本では、神道、仏教、儒教が混在する宗教的な考え方が主流であった。義父である世阿弥の禅宗の影響を受けながらも世俗化した能楽を受け継いだ善竹は、能楽を新たな方向へ、あるいは古い方向へ回復させた。 禅竹は、人間や非人間的な魂が抱く精神的な渇望に能の焦点を合わせることで、芸術を新たな方向へ、あるいは古い方向へと回復させたのである。 この論文では、禅竹の精神的転回に影響を与えた、神道のアニミズムと天台宗の独自の悟りを含む同時代の同時代的な宗教思想を検証してみたい。特に、『芭蕉』、『杜若』、『竜田』といった、木、花、紅葉の霊を主役とする戯曲に注目する。特に禅竹の能は、人間（脇役を介した観客）が非人間と対等な精神で出会うことができる儀礼的な場なのか、京都学派の三代目哲学者上田閑照の「『虚』化して言葉」の概念を介して問いかけたい。 ページ上の静止した死んだ言葉ではなく、生きたイベントとして上演された音楽劇の儀式としての『龍田』を事例として、私は、善竹の能が、人間と非人間という人工的な境界を超越したものとして経験させる「場」を示していることを論じる。この場所は、西田の絶対無の場所や上田の「虚」の世界に照らして解釈すると、我々後期資本主義の観客にとって、再接続と和解の場所と見ることができ、人新世を通じて多くの環境破壊をもたらした自然の道具的概念を超える可能性を、たとえ舞台上だけでも垣間見ることができるのである。最後に、植物に焦点を当てた禅竹の作品は、彼の時代でさえも古代の知恵であった様々な流れを汲むことによって、無限の可能性の場所を演出していることを論じたい。. |
| 14. | ゼミソン・ダリル, カナダの音楽的「モザイク」と文化の盗用論, 日本音楽学会, 2020.07, カナダ文化はそれが「モザイク」であることを誇っている。そこは多様な移民文化がそれぞれのアイデンティティーを失わずに混ざり合う空間である。音楽に関していえば、カナダ人作曲家は、自身が育ったそれではない文化から様々なインスピレーションを受けてきた。例を挙げれば、バリのガムラン音楽に基づいた作品を西洋の作曲家の中では初めて作曲したコリン・マクフィー、カナダ先住民ニスガ族の歌をオペラの傑作「ルイ・リエル」に加えたハリー・サマーズ、感性の形成期に日本を含むアジアを旅して音楽的刺激を受けたカナダで最も知名度の高い作曲家クロード・ヴィヴィエ、そしてヨーロッパ大陸からカナダの先住民の音楽に至るまで幅広い素材を用いてコラージュ作品を作曲するフリストス・ハッツィス。 近年では、こうした異文化の借用がマスメディアでもアカデミアにおいても「文化の盗用」であるとして問題化され、批判を加えられてきた。本発表は、「文化の盗用」というレンズを通してカナダの代表的な現代音楽作品を検証し、芸術表現における自由と自身が属さない文化に対するセンシティヴィティのバランスをどう図るか検討するものである。そして「文化の盗用論」の議論が日本のアーティストや聴衆に対して意味するところを慎重に考察する。. |
| 15. | Daryl Jamieson, instruments in fields: an intercultural approach to understanding music incorporating field recordings, TAMA Music Festival, 2020.01, [URL], Field recordings – audio recordings of real-world (non-fictional, documentary) situations – have been used for musical purposes since the tape recorder became available for composers to use in the aftermath of WWII. However, it is only in recent years that music for instrumentalists and ensembles in dialogue with field recordings have become commonplace in contemporary music concerts around the world. This paper will consider what might account for this trend among composers, especially the younger generations. However, the bulk of the paper will less concerned with why and how such music is written, and more focussed on how listeners (including performers as well as the composers, who are the original audience of every piece of music) might interpret music which juxtaposes two (or more) such different sound sources. Hermeneutic frameworks such as fictional vs non-fictional, man vs nature, and other Romantic concepts will be discussed, before moving on to more recent concepts of ecological perception and Kyoto School ontology. Using Michael Pisaro's 'fields have ears (1)' for solo piano and 4-channel field recordings as an example, the concluding portion of the paper will argue that by listening in the light of a variety of aesthetic, scientific, and ontological lenses, listeners can make deeper connections among the instruments, recordings, and themselves, and thus a richer, more spiritually meaningful, aesthetic experience of the music.. |
| 16. | Daryl Jamieson, Spirit of Place: Zeami’s Tōru and the Poetic Manifestation of Mugen, European Network of Japanese Philosophy, 2019.08, [URL], Zeami Motokiyo was one of nō’s most important theorists and practitioners, and mugen (‘dreams and illusions’) nō one of his most sophisticated innovations. Using the play Tōru as a model case, in this paper I will explore how Zeami’s nō utilise waka theory and Buddhist ontology that was current in his time. I will especially examine his use of utamakura, the poetic device of intertextual allusion via place names. I will argue that utamakura is foundational to mugen nō, the main character (shite) being a spirit attached to a particular famous utamakura place. Tōru – set in a ruined Kyoto garden designed to mimic Shiogama, an utamakura location in Tōhoku – is a prime example of how Zeami’s structures his nō around utamakura. In the second part of the paper I will analyse Tōru’s text and music through the lens of Ueda Shizuteru’s theory of language. In placing poetic spirits of place on stage, Zeami shows the power of language to manifest something like conventional reality. Mugen nō takes place, I will argue, entirely inside the mind of the supporting priest character (waki) – the shite spirit manifests via poetic ‘hollow language’ (utamakura) in the waki’s mind. Furthermore, when watching mugen nō, the music and poetry combine to create a space wherein the entire audience become waki; we share the aesthetic-spiritual experience of the spirit of place manifesting in our communal mind. His ritualistic staging of the opening up of the hollow expanse is the beauty of Zeami’s art.. |
本データベースの内容を無断転載することを禁止します。