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Daryl Steven Jamieson Last modified date:2023.08.02

Graduate School
Undergraduate School

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Academic Degree
PhD (University of York), MMus (Guildhall School of Music and Drama), BMus (Wilfrid Laurier University)
Country of degree conferring institution (Overseas)
Yes Bachelor Master Doctor
Field of Specialization
Music Composition, Aesthetics of Music
ORCID(Open Researcher and Contributor ID)
Total Priod of education and research career in the foreign country
Outline Activities
Composing music based on original research into Konparu Zenchiku's aesthetics and practice, especially with regard to the dramatising of the relationship between human and non-human
Output is both musical compositions and academic papers
Research Interests
  • Towards an adaptation of Konparu Zenchiku's methodology for contemporary multimedia music-theatre practice
    keyword : Nō, Konparu Zenchiku, contemporary music, multimedia art, field recording
Current and Past Project
  • This theme explores the connections between identity, culture, technology and natural environment in Scotland, Europe and archipelagic regions across the globe.

    The engrained cultural practices, philosophical ideas and psychological resources we derive from inhabiting a territory and passing on our experience and knowledge to future generations through arts, crafts and technology define our identity and relationship to other communities around the world. The archipelagic layout of the Scottish natural environment and its interactions across time with its continental neighbours and islandic nations across the globe, providing creative solutions to global challenges, can be looked at through a trans-disciplinary lens which combines the expertise of practitioners and researchers from the College of Arts (Modern Languages & Cultures, History of Art, Theatre, Humanities, Theology & Religious Studies), College of Social Sciences (Education) and College of Medicine, Veterinary & Life Sciences (Psychology & Neuroscience).

    The aim of the theme is to provide a congenial research environment that fosters collaboration across disciplinary boundaries and supports the personal development of Early Career Researchers and PhD students. As a natural extension of the activities organised through the Existential Philosophy and Literature Network (2017-2019) and the Glasgow-Kyushu Research Collaboration in the Arts (2019-2022), the theme seeks to energise links with external partners (such as GalGael Trust, Scottish Centre for Geopoetics, the Alliance française de Glasgow and the French Institute in Edinburgh), and to organise public events to disseminate ideas around nomadism and travel across cultures, inspired by the geopoetic movement initiated by the Glasgow-born Scottish-French writer, Kenneth White. This line of enquiry ties in with cross-disciplinary research on eco-criticism, the impact of technology and human/robot interactions during the pandemic, and the role of creative industries and performative art in tackling mental health and restoring our relationship to the natural environment.
  • In an era of global environmental and civilisational chaos and seemingly imminent collapse, what role can the musical arts play? In Marianna Ritchey’s Composing Capital, Ritchey makes clear that mainstream contemporary music is as implicated in the destructive system of global capitalism as the rest of the culture industry, and it is thus clear that only radically experimental or heterodox approaches can – in the grand tradition of all arts – create places where social relationships among humans and between humans and the nonhuman can be reimagined. To this end, this research project will build on the work of contemporary experimental composers who are working outside the mainstream, and new musicologists (especially anti-capitalist queer and feminist musicologists) and theorists. But this project will equally listen back to conceptions of music and music theatre from pre-modern, pre- capitalist periods (with an emphasis on waka theory, Okina, and Zenchiku) as potential models for sounding art in the post-capitalist world, an art more attuned to and in dialogue with, the nonhuman world.
Academic Activities
1. Daryl Jamieson, Spirit of Place: Zeami’s Tōru and the Poetic Manifestation of Mugen, Japanese Studies,, 42, 2, 137-153, 2022.07, [URL], Zeami Motokiyo was one of nō’s most important theorists and practitioners, and mugen nō one of his most sophisticated innovations. Using the play Tōru as a model, this article explores how Zeami’s nō utilised waka theory and Buddhist aesthetics that were current in his time. I will particularly focus on his use of utamakura, a poetic device of intertextual allusion via place names. In the second part of the article I will analyse Tōru’s text and music through the lens of Kyoto School philosopher Ueda Shizuteru’s theory of language. In positioning poetic spirits of place on stage, Zeami shows the power of language to manifest something like conventional reality. When watching mugen nō, the music and poetry combine to create a place wherein the audience shares the aesthetic-spiritual experience of the spirit of place manifesting in our communal mind. His staging of the opening up of the hollow expanse is the beauty of Zeami’s art.

2. Daryl Jamieson, Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach, The Journal of Aesthetics and Art Criticism, 10.1093/jaac/kpab001, 2021.02, Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art: an art—like field recording—which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this article, Toshiya Tsunoda’s exemplary Somashikiba (2016)—recorded in locations forgotten by civilization—will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo’s poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically and politically engaged art. Looking, as these contemporary Japanese thinkers have done, to the precapitalist, pre-formalist past to rediscover (sound) art’s function as a medium which reconfigures the listener’s perception of reality, I argue for the urgency of sound art such as Tsunoda’s which aids in the re-enchantment of the world to a future beyond capitalist, humanist “civilization.”.
Works, Software and Database
3. Programme Notes
This piece was based on two striking aural experiences I had in spring 2022 in Izumo, Japan.
The first was in a small wooded area within the precincts of Hinomisaki Shrine, near the shrine dedicated to the complex but powerful deity most associated with the region, Susanoo. In a clearing by a sacred well, I stood listening as the sea breeze jostled seeds from the surrounding trees, raining tiny life-perpetuating kernels down around me with a sound both like and unlike a gentle drizzle.
The next day, I was accompanied by the commissioner of this piece, Kyohei Sugihara, to Gakuenji Temple and Furō waterfall. A delicate, gossamer stream of water falling onto a gentle incline of moistened rock, rich with brilliantly- green moss, it was unlike any waterfall I had ever seen, or heard.
These soundscapes were the seeds of this piece.
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9. Descants is a series of pieces for solo instruments in natural environments. ‘Natural’, in my meaning, includes human-made environments, eschewing any artificial distinction between humans and the rest of the environment. The composed music is intended to become a part of the natural soundscape, not foregrounded or separated from the natural sounds around it.
Descants 5: questions for the sea is intended to be played at the shore of any body of water (not necessarily the sea). It consists of five cells of material ranging from completely notated to improvised text score. Movement from one cell to the other is mirrored by the player's (or players') change of direction..
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13. seven miniatures
7 one-page piano pieces, each written for a different pianist friend around the world at a time of isolation and lockdown because of COVID-19..
14. fox-red
duo for clarinet and accordion
15. Romakloster – 21 August 2019
16. utamakura 4: St Dunstan-in-the-East
utamakura are place names used in Japanese poetry since it was first written down in the early 8th century. These places were memorialised because of some spiritual significance or a great event being
connected to that place. The places which resonated with poets generally were repeated down the centuries, a web of intertextual allusions building up around each place name as generations of poets, composers, and playwrights reused the same place names in their works.
In this series of utamakura pieces, I will go to these storied places in Japan and abroad, make field
recordings there, and create works around these recordings which interrogate the associations these places have accrued, the meaning for us today of old tales for our sense of place and our sense of time, as well as the spiritual chasm which widens in the face of idealised evocations of a place and its often- disappointing reality.
utamakura 4: St Dunstan-in-the-East is based on a garden on St Dunstan’s Hill in the City of London. A holy site for more than a millennium, the church presently on the site was first built in the early 12th
century and repaired many times over the centuries, most notably when the tower was rebuilt by Sir Christopher Wren following the Great Fire of London in 1666. The church roof and some walls were destroyed by German bombing in World War II, though Wren’s tower survived. The ruin today contains a lovely garden and benches and is both a reminder of the destructiveness of war and the capacity of nature to heal.
The piece is in six movements, each with a two-part title. There are two cycles of the minor hours – Terce (mid-morning prayer), Sext (midday prayer), None (mid-afternoon prayer) – reflecting the Catholic heritage of the site and the times at which the field recordings were taken by sound artist Fizz Margereson. Each piece also has a title taken from Shakespeare which references one of the plants actually in the garden at St Dunstan-in-the-East at the time of composition.
17. utamakura 5: Mount Kamakura
utamakura are place names used in Japanese poetry since it was first written down in the early 8th century. These places were memorialised because of some spiritual significance or a great event being connected to that place. The places which resonated with poets generally were repeated down the centuries, a web of intertextual allusions building up around each placename as generations of poets, composers, and playwrights reused the same placenames in their works. In this series of utamakura pieces, I go to these storied places in Japan and abroad, make field recordings there, and create works around these recordings which interrogate the associations these places have accrued, the meaning for us today of old tales for our sense of place and our sense of time, as well as the spiritual chasm which widens in the face of idealised evocations of a place and its often-disappointing reality.
Mount Kamakura, which traditionally referred to a hillock in what is now the busy resort town of Kamakura 50km south of Tokyo, is associated in traditional poetry with the sound of lumber being harvested, grass being cut, birdsong, and clouds. ‘Kama’ means scythe, so the first two associations are plays on the mountain’s name (‘kura’, incidentally, means storehouse). At present, the hillock (which is no longer called Mount Kamakura) is home to the one of the biggest Shintō (the indigenous animist/nature religion) shrines in eastern Japan, Hachimangū.
Hachimangū shrine has, in my view, somewhat lost its way – commercial considerations seem to trump the spiritual there. However, the shrine does harbour some areas of natural beauty which hark back to the traditional roots of Shintōism. The audio and visual field recordings explore the tension between modernity and tradition on this ‘mountain’, and the instruments offer commentary and reaction.
In addition to the principle focus on Mount Kamakura, I also interpolate three shorter sections focusing on Kamatari Shrine. Kamatari – about 1.5 km east of Hachimangū – is the mythical foundation point of Kamakura, where the sacred 7th-century scythe that lends Kamakura its name is supposedly interred. It’s a very small shrine, enveloped in greenery, untroubled by tourists. It feels to me, still an outsider to Japanese religious life, as more in touch with nature, the traditional source of Shintō spirituality.
This piece is concerned with the ancient and contemporary associations of Kamakura, and as I lived in Kamakura (five minutes walk from the shrine) for six years, this is the most personal of the seven utamakura pieces. The piece is structured as a journey from the present to a contemporary imagining of the past: gradually spreading out from the aimless and blurry vermillion noise of modernity to the crisp, rich, green nature of both the imagined past and the hoped-for future.
1. 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..
Membership in Academic Society
  • Canadian Music Centre
  • Canadian League of Composers
  • The Musicological Society of Japan
  • Japanese Society for Aesthetics
  • European Network of Japanese Philosophy
  • Japan Society for Contemporary Music
Educational Activities
In 2020, he was in charge of "Sound Performance" in the Department of Acoustic Design (before reorganization), and taught "Music Theory and Expression". Since 2021, he has been in charge of "Theory of Sound Culture Seminar (Field Recording)" and "Applied Music Expression I & II (Composition)" in the Acoustic Design Course (after reorganization), in addition to "Music Theory Expression Seminar (Piano)", "Introduction to Art Studies (in charge of introduction to contemporary music and composition)". Jamieson is developing an experiment on experimental music in the shared course of "Acoustic Experiment I" that will be taught from 2022. He teaches the "Artistic Expression Project" in the Creative Content Design Course (Master's Program). He teaches "Design and Japan" in English. He teaches one of the undergraduate students in thesis research, and also sub-instructs six undergraduate students, eight graduate master's programs, and two graduate doctoral students in total over two years.
In addition, Jamieson also taught a Master's level concentrated seminar on the subject of 'Silence' in the composition department of Aichi University of the Arts as an adjunct professor in 2021.
Professional and Outreach Activities
Represented Japan (Japanese Society for Contemporary Music) at the International Society for Contemporary Music's general assembly and World Music Days from 2019-2020..