Études Rythmiques du Japonisme, by Michi Nakayama

Études Rythmiques du Japonisme

by Michi Nakayama

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1.	No. 1, "序 (Jo)" 02:52	buy track
2.	No. 2, "婆娑羅 (Basara)" 02:05	buy track
3.	No. 3, "間 (Ma)" 03:47	buy track
4.	No. 4, "ゆらぎ (Yuragi)" 03:07	buy track
5.	No. 5, "ずれ (Zure)" 01:49	buy track
6.	No. 6, "一具 (Ichigu)" 02:44	buy track
7.	No. 7, "呼吸 (Kokyu)" 02:34	buy track
8.	No. 8, "俳句 (Haiku)" 00:28	buy track
9.	No. 9, "金継ぎ (Kintsugi)" 04:32	buy track
10.	No. 10, "幽玄 (Yūgen)" 03:18	buy track
11.	No. 11, "わびさび (Wabi-sabi)" 03:49	buy track
12.	No. 12, "静と動 (Sei and Dou)" 02:32	buy track

about

Conventional “rhythm” became physically “metericized” in the early 20th century due to technical advancements and recording technologies. We have earned a computational and replicable sense of “rhythm,” which functions as a form of “truth,” albeit, at the expense of natural fluctuations. The most globalized convention of music appears predominantly Newtonian, which suggests much space for exploration.

As a case study, I decided to keep a record of approaching beyond the meter through the most simplistic representation of my rhythmic identity, an artistic movement in late 19th century Europe — “Japonisme.”

Befitting for a third-culture Japanese, Japonisme is an “outsider’s” rendering of Japanese aesthetics. A perception of design, metaphor, spacetime, and abstract feelings of traditional Japanese life (mostly Edo). As Takemitsu reimported “Japan” through Debussy, Japonisme serves as a portal to tradition and new possibilities lurking in the neoclassical stratosphere.

ジャポニズム的リズムのためのエチュード

20世紀初期、演奏技術の発展と録音技術により、数式的に洗練されたリズムが一般化されました。以降「自然なゆらぎ」を差し置いて、人工的な完璧なリズムがより「正解」であるとの認識が広まったと思われます。良くも悪くも、ニュートン的価値観であり、現代の科学と比較した際、探検の余地があると思われます。

実験台として、自分のリズム観を最も単純に表している「ジャポニズム」の感覚を用いて、可能性を研究しようと思いました。

武満がドビュッシーの影響を受けた状態で「日本」を再輸入したように、「自分らしさ」の延長として、リズムと美学の境界線が曖昧な、リスペクトはしつつ「伝統」だけにはない、「野暮」でも「可能性」を取り入れる姿勢を持つ、「ジャポニズム」の世界観を、ポストクラシカルの文脈に再輸入することで音楽的な意義、前進性を探究することを試みております。

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released July 3, 2022

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Michi Nakayama | 中山道 Yokohama, Japan

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