Temps de l’Extrême-Occident et âme de l’Extrême-Orient dans la musique contemporaine au regard du I Ching
Résumé
LANGARTS (Langages artistiques Asie-Occident)
[ Western Time and Eastern Soul – a Contemporary Music Analysis through the I Ching ]
Observing and comprehending the creative process comes through several stages. The cosmological transcription of the message of the I Ching and the composer’s expression combine and transform into a personal organization of sound that is a theorized writing, which at the same time accentuates the creator’s sensibility and philosophy with a clear intent.
In this musical analysis, the work of Wang Miao-Wen, the first female Taiwanese electroacoustic composer, reveals the mechanics of musical structure based on the Taoist theory of the I Ching. The personalized system of this ancient Chinese theory is influenced by different transcribed levels which express the perception and emotion of the composer through the philosophical world of the sixty-four hexagrams of the I Ching, These hexagrams inform and guide different mental, physical, and political states of being. We will see how Wan Miao-Wen, after abandoning the primary meaning of the I Ching, deepens her quest to attain a philosophical sublevel. She successfully describes a complete and harmonious environment, the origin of her inspiration, which is fed by an evocation of the breath of wind and the song of the water, natural vectors of harmony between heaven and earth.
Resting within Western cognitive organization, her theorization is completed by a spiritual expression of the I Ching in a process at the heart of the interculturality between West and East.