ブリュッセルでの講演を打診され、ちょうどリヨン大学の口頭試問の時期と合わせられないか、調整中。また内容として、20年前に書いた論文を引っ張り出してきた。武満徹についての次のようなものです。
THE GARDEN OF MUSIC
Ryosuke Shiina
Abstract
The music of Toru Takemitsu (1930–1996) contains many allusions to the “garden”: for example, his A Flock Descends into the Pentagonal Garden, Spirit Garden, and In an Autumn Garden, have the word “garden” in their titles; further, it has been a starting point for some ideas on the garden, such as in Arc for piano and orchestra. As for the last example, Takemitsu explains that he had traced the map of a garden before he worked on the music itself.
On the other hand, the music of the Bosavi in New Guinea or of the Temiar in Malaysia is inspired by the landscape of the environment. Their music is a “map” that represents their territory, an ancient ancestral heritage. It overlaps with the Australian churinga reported by Lévi-Strauss, as their ancestral body itself.
The absence of written history is replaced by the music or the fetish as churinga. Perhaps European pre-modern music was in the same way the “fetish” of the ancestral memory, the oral tradition prevailing. We may think of the origin of the word “music”: which is concerned with Muses, daughters of Mnemoshne, goddess of the memory?
And what about the garden? I think we are not so erroneous if we suggest the oral tradition’s origin, a form of history, of collective memory, with examples like Kawara-no-in or Shinsen-en in Japan.
The modern view of the arts forces us to see the “work” wherever there are artistic activities, so that art is liberated from the collective memory, personalized, and aesthetized. Influenced by John Cage’s idea of art as everyday life, Takemitsu tried to restore the relation between art and collective experience, in a movement which was contrary to the Bosavi or the Temiar. But their trajectories cross in a totally new point of view in contemporary aesthetics, at the crossroads of the oral tradition, experimental arts, and European aesthetics.
椎名亮輔「音楽の庭園」『総合文化研究所紀要』（同志社女子大学）第20巻、2003年、70-83頁。
