Schlagworte: Postpoietisches Paradigma, Postkoloniale Theorie, Fremde, Japan, Wissenschaftstheorie, Hannah Arendt, Lebenswelt, Max Weber, Verzeihung.

1. Oto, chinmoku to hakariaeru hodo ni ; Ki no kagami, sōgen no kagami -- 2. Ongaku no yohaku kara ; Ongaku o yobisamasu mono -- 3. Tōi yobigoe no kanata e ; Toki no entei ; Yume no in'yō -- 4. Oto, kotoba, ningen ; Opera o tsukuru -- 5. Yume to kazu ; Uta no tsubasa, kotoba no tsue.

The article examines the relationship between Western and Eastern aesthetics, analyzing some aspects of the musical production of Tōru Takemitsu, the great Japanese composer, now firmly included in the contemporary music “Western Canon”. The article tries to demonstrate that contemporary music represents an ideal field for verifying the intersection between Western and Eastern aesthetics. It is precisely the paradoxical co-belonging of Takemitsu’s musical thought to both worlds, which encourages us to reconsider our way of understanding the aesthetic “distance” (...) between East and West. Contemporary music represents the privileged place, to verify the idea, that such cultural distinctions are indeed relevant, but only to the extent that they should be transcended in a higher unity, in a “hypercultural” space. Within this space, the differences find their “place”, but also their reciprocal translatability. Takemitsu’s writings record the incessant oscillation between the great Western musical, aesthetic, poetic tradition, and the specifical Japanese cultural tradition. The names of Debussy, Messiaen, Nono, Feldman, Cage stand alongside those of Basho and Zeami, in an aesthetic convergence that is a prelude to a truly “global” aesthetic. The path proposed here analyzes this convergence, retracing, in Takemitsu’s production, three fundamental “figures”: silence, trees, and rain. (shrink)