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Parergonality in Zen Buddhism and Non-Idiomatic Improvisation

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Parergonality in Zen Buddhism and Non-Idiomatic Improvisation DHARMA NOISE: PARERGONALITY IN ZEN BUDDHISM AND NON-IDIOMATIC IMPROVISATION DANIEL PAUL SCHNEE A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MARCH2013 © Daniel Paul Schnee, 2013 ABSTRACT 11 The objective of this dissertation is to explore philosophical and practical approaches to the study of improvisation in relation to Japanese Zen Buddhist doctrine and aesthetics. It specifically asks whether free form (non-idiomatic) improvisation can be practiced, and Zen Buddhism's efficacy in establishing a structured regimen for technical study on a musical instrument. In order to complete this research objective, the historical development of Zen Buddhist doctrine and aesthetics is investigated and shown to be a non-unified rubric. Using the concept of the parergon, it is then demonstrated that practicing is an appropriate activity for improvisation when supplemented by the kata forms of Zen-influenced Japanese arts. The result of such supplementation in .this case takes the form of a series of original chromatic exercises developed as a paradigm that itself acts as a supplement to improvisation. The establishment of such a regimen also suggests further research into the topic of pedagogy and Shintoism as an aesthetic or theological supplement, as well as gender issues in creative perfonnance. 11l TABLE OF CONTENTS Abstract 11 Table of Contents 111 1. Chapter One: Introduction Dharma Noise 1 Statement of the Central Problem 3 Literature Review 5 A Brief Introduction to Buddhism and Zen 18 2. Chapter Two: Improvisation 30 Introduction 30 Defining Improvisation 30 Improvisation in Western Musical Culture 31 Free Jazz 37 Free Improvisation 41 Non-Idiomatic Improvisation 45 Improvisation in Traditional Music of the Far East 50 Noh Theater Music and Improvisation 53 The Hana Concept 63 I-guse as Stillness/Silence 66 Conclusion 68 3. Chapter Three: Parerga 70 Introduction 70 Immanuel Kant 70 Jacques Derrida 77 Derrida and Parerga 78 Agnate Gnosis 81 Exegetic Improvisation 83 Exegetic Improvisation in Zen Creativity Literature 87 IV 4. Chapter Four: Zen and Parerga 92 Zen and Historical Veracity 92 D. T. Suzuki and Zen 95 Western Creative Zen Literature 103 Zen Qualities in the Work of Omette Coleman 124 Conclusion 133 5. Chapter Five: The Kata Concept 135 Introduction 135 Taoist and Zen Aesthetic Terminology 136 Conceptual Issues in Zen Terminology 141 Women and Zen 146 Non-Idiomatic Improvisational Practice As A Do 155 The Kata Concept 157 Possibilities for Non-Idiomatic Improvisational Kata 166 The I-Ching as Kata 171 The Chromatic Axis Concept 191 6. Chapter Six: Summary 202 General Summary 202 Implications for Further Research 203 Conclusion 215 7. Appendix: Asian Buddhist and Aesthetic Glossary 216 8. References 246 CHAPTER ONE: INTRODUCTION 1. 0. Dharma Noise The art of improvisation is a fascinating field of study. Many kinds of improvisation occur in our daily life and some, as in the case of music, can serve as the subject of analytical study. In the process of studying jazz improvisation for example, a student considers the many ways melodic, harmonic and rhythmic forms can be combined to create improvised solos over standard songs. As a result, the student finds practical methods of expressing their newfound knowledge, which act as a supplement to their creative works. In the case of more experimental or abstract styles of improvised music, principles and concepts of freedom, chance, and immediacy are studied as much as practical methods. These concepts can be, and often are, discovered in other fine arts and sciences, and the improviser will attempt to find ways to apply them in their own creative work. These principles serve as a referent, a "set of cognitive, perceptual, or emotional structures (constraints) that guide and aide in the production of musical materials" (Pressing 1998, 52). The referent( s ), once chosen, might well require the act of practicing and preparing technique for a successful engagement with other musicians, and presentation before an audience. Japanese Zen Buddhism, m particular, has historically been a rich source of referential artistic and intellectual inspiration for many generations of fine artists. From the aesthetics of ink painting to the concept of evanescence in Noh Theatre, Zen 2 Buddhism has provided artists everywhere with conceptual and practical information of significant value. But how does one "practice" evanescence? Can what is indeterminate be studied? It would seem counterintuitive. And in light of certain philosophical views contained within Zen Buddhism particularly, practice or repetition might, upon first reflection, seem contrary to spontaneity. For example, saxophonist Omette Coleman, arguably the founder of freely improvised jazz, performs in a very spontaneous, stream-of-consciousness style. Yet, I personally witnessed Mr. Coleman practice solo instrumental pieces by J.S Bach at length during our lessons together. If freedom is a referent for free jazz, then it may be argued that the avoidance of practice is freedom from the rote repetition of scales and forms studied in the practice room, as well as any accompanying music theory (rules of counterpoint, orchestration, composition, etc.). Zen Buddhism, in its emphasis on non-discrimination and seeing the 'suchness' of things-as-they-are, emphasizes purity of cognition through meditation and wisdom training. As Zen master Shunryu Suzuki states in the prologue to his book Zen Mind, Beginner's Mind, Chinese Zen (from which Japanese Zen originated) became impure and that "mental self-sufficiency is the manner of retaining original purity" (Suzuki 2005, 21 ). But, Suzuki does not suggest that purity is necessarily a result of cloistering; rather that an open mind is more receptive to myriad possibilities. If one were open in this Suzukian manner, then it would seem that practicing would be a viable option. Such a receptive philosophy could also suggest the highest realm of free improvisation is beyond 3 intellectualization, and cannot be fully practiced, articulated, explained, or conceptualized without musical technique as a possible choice. Could we then suppose "not-practiced" music is a true gesture of Zen philosophy in an all-inclusive sound-scape? 1. 1. Statement of the Central Problem An approach to improvisation that would problematize practicing-which idealizes a "Zen" expression of iconoclasm over intellection and erudition-seems to be exclusionary. If this approach is a central ideology of free form improvisatory practices, do we not risk intellectual and creative decline? This would also devalue difference, and negate gradients or subtleties of degree. And, as I will demonstrate, appropriating Zen Buddhism in support of improvisation is suspect if not accompanied by an understanding of Buddhist history. If this history is left unexplored we risk losing multiple sites for the study of Zen Buddhism's relationship with the arts, improvisational pedagogy, and future innovation. As Michele Marra states, "the displacement of reality into the aesthetic realm exonerates the worshiper of art from feelings of self-blame to which rational thoughts would inevitably expose him, while providing pleasure in the possibility of aesthetic evasion" (Marra 1999, 14 ). Does this type of evasion not also exonerate that 'worshipper' of improvisation from the disciplined, critical understanding of the Buddhist aesthetic realm? Historically, Zen influence on the modern art of the West has been through contact with Japanese fine arts leading to the consumption of various philosophical texts written by Alan Watts and D. T. Suzuki, which led to the widespread study of classic Zen 4 texts such as the Gateless Gate, Blue CliffRecords, Dagen Zenji's True Dharma-Eye Treasury and True Dharma-Eye 300 Kaan Collection, the Pla(form Sutra ofHui-neng, and others. Creative innovators from Claude Monet (1840 - 1926 CE) and Vincent van Gogh (1853 - 1890 CE) to Yoko Ono (1933 CE) and Laurie Anderson (194 7 CE), represent both the "subtle and overt influence of Buddhist thought on the West" (Baas 2005, xiii). Having access to both popular and academic writing on Zen, an artist of the late Fifties and early Sixties would have also been influenced by prevailing aesthetic theories of painting and popular art music. By expressing personal experience, the artist would be expressing "what is universal within us all" (Westgeest 1996, 7). Establishing the exact relationship between Zen philosophy and specific artists, though, is a highly complex activity, with too many possible pitfalls to be coherently achieved. As Jacelynn Baas states, Zen or Zen-influenced arts "cannot be described as influential or causal" (Baas 1996, 224). Zen Buddhism has been an element existing alongside other elements, and between which there prove to have been many connections (224). Therefore, my dissertation explores the relationship between Zen Buddhism, non­ idiomatic improvisation, and the nature of practicing: specifically, whether Zen Buddhist philosophy is antithetical to the idea of practicing scales, phrasing, articulation, and such in improvisation. Can non-idiomatically improvised music be practiced? Can Zen Buddhism supplement this practice in some form? In answering these questions I will focus on four particular areas of investigation: 1. Zen Buddhist aesthetic philosophy 5 2. Defining improvisation 3. The term parerga
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