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dc.contributor.advisorSokol, Keith
dc.creatorSchnee, Daniel Paul
dc.date.accessioned2016-11-24T17:31:12Z
dc.date.available2016-11-24T17:31:12Z
dc.date.copyright2013-03
dc.identifier.urihttp://hdl.handle.net/10315/32643
dc.description.abstractThe 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 performance.
dc.rightsAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.
dc.titleDharma noise: parergonality in Zen Buddhism and non-idiomatic improvisation
dc.typeElectronic Thesis or Dissertation
dc.degree.disciplineMusic
dc.degree.namePhD - Doctor of Philosophy
dc.degree.levelDoctoral
dc.subject.keywordsDharma noise
dc.subject.keywordsMusic
dc.subject.keywordsZen Buddhism
dc.subject.keywordsImprovisation
dc.subject.keywordsParergon
dc.subject.keywordsJapanese arts


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