References

Abé R. & Haskel, P. (1996). Great Fool: Zen Master Ryōkan. Honolulu: University of Hawai’i Press

Barnhill, D. L. (2011). Sorrow and Blossoms: The Poetry of Saigyō. Internet Resource. https://www.uwosh.edu/facstaff/barnhill/244-japan/Saigyo%20-%20Sorrow%20and%20Blossoms.pdf (Retrieved August 10, 2022)

Benjamin, M. (2019). Thick Relationality: Microtonality and the Technique of Intonation in 21st Century String Performance. [Doctoral thesis]. University of Huddersfield.

Beuger, A., Lash, D., Pisaro, M., & Thomas, P, Reynell, S. (2012) Roundtable Discussion Internet resource. http://www.anothertimbre.com/page146.html (Retrieved April 31, 2015).

Bell, T. (2015) Happiness is the Goal. In F. Morris & T. Bell (Eds.), Agnes Martin. Tate Publishing. 

Bhikkhu Bodhi (ed.). (2015). The middle length discourses of the Buddha: a new translation of the Majjhima Nikāya. (Bhikkhu Ñāṇamoli, org. trans. &  Bhikkhu Bodhi, rev. trans.; 4th ed.). Wisdom Publication.

Bhikkhu Ñāṇamoli. (1992). The Life of the Buddha: according to the Pali Canon. BPS Pariyatti Editions.

Biancorosso, G. (2010) The Shark in the Music. Music Analysis, 29(1-3),  306-333

Bourdieu, P. (1984).  La Distincion. (R. Nice, trans.). Routledge & Kegan Paul Ltd.

Bregman, A. S. (1990). Auditory Scene Analysis: The Perceptual Organization of Sound. MIT Press

Brewster, E. B. (2018). What is our Shared Sensory World? Ming Dynasty Debates on Yogācāra versus Huayan Doctrines. Journal of Chinese Buddhist Studies, 31, 117–170.

Brook, T. (2015). Amalgam. Unpublished score.

Brooks, W. (2010). Sounds, gamuts, actions: Cage's pluralist universe. In W. Brooks (ed.). metaCage: essays on and around Freeman Etudes, Fontana Mix, Aria. Leuven University Press.

Brown, A. J. (2017) Suspended States - An Interview with Jürg Frey. Internet resource. https://van-magazine.com/mag/juerg-frey/

Brunnhölzl, K. (2007). In Praise of Dharmadhātu by Nāgārjuna, commentary by the IIIrd Karmapa. Snow Lion

Burger, E. (Director). (2016). One Mind [film]. One Mind Productions.

Burns, E. M. (1999). Intervals, scales, and tuning. In D. Deutsch (ed.). The psychology of music (2nd ed., p. 215-264). Academic Press.

Cage, J. & Feldman, M. (1966) Radio Happening III. http://www.ubu.com/sound/feldman.html

Cage, J. & Oliver, M. (2006). BBC Radio 3, Music Weekly, June 29, 1980. In P. Dickinson (ed.). CageTalk (p. 2o3). University of Rochester Press.

Cage, John & Cott, J. (1963) Interview by Jonathan Cott, Radio, 1963.   Internet resource: http://archive.org/details/CottInterviews/

Cage, J. (1956) To Paul Henry Lang. In L. Khun (ed.) The Selected Letters of John Cage (p. 187-189). Wesleyan University Press

Cage, J. (1961). Silence. Wesleyan University Press

Cage, J. (1967). A Year from Monday. Wesleyan University Press.

Cage, J. (1981). For the Birds: in Conversation with Daniel Charles. Marion Boyars.

Cage, J. (1990). Autobiographical Statement.

 https://johncage.org/autobiographical_statement.html

Cage, J. (1991). Memoir. In Richard Kostelanetz (ed.). John Cage (p. 7). Da Capo Press.

Cahill, J. (1977). Chinese Painting. Editions d’Art Albert Skira S.A.

Cahill, J. (undated) Ls. LectNotes. 7A: Northern Song Landscape Painting, Part I. Internet resoruce. https://jamescahill.info/File/LS_lecture_notes/7A.pdf

Carlson, A. (2008). Appreciation and the Natural Environment. In A. Carlson & S. Lintott (Eds.), Nature, Aesthetics, and Environmentalism (p. 119-132). Columbia University Press.

Carroll, N. (1998).  Cage and Philosophy. In P. Alperson (ed.). Musical Worlds: new directions in the philosophy of music. The Pennsylvania State University Press.

Carter, R. E. (2013). The Kyoto School: An Introduction. State University of New York Press

Chang, G. C.C. (1971). The Buddhist Teaching of Totality. Penn­sylvania State University Press

Chen, Pi-yen. (2001) Sound and Emptiness: Music, Philosophy, and the Monastic Practice of Buddhist Doctrine. History of Religions, 41(1), 24-48

Cheng, F. (2016). Chinese Poetic Writing. (D.A Riggs, & J.P. Seaton, trans., Expanded edition). The Chinese University of Hong Kong Press.

Chow, R. & Rohrhuber, J. (2011). On Captivation: A Remainder from the 'Indistinction of Art and Nonart'. In P. Bowman and R. Stamp (Eds.), Reading Rancière: Critical Dissensus. Continuum.

Chökyi Nyima Rinpoche. (1986). The Union of Mahamudra and Dzogchen. Rangjung Yeshe Publications

Chökyi Nyima Rinpoche. (2002). Present Fresh Wakefulness. Rangjung Yeshe Publications

Clarke, E. (2011). Music perception and musical consciousness. In D. Clarke & E. Clarke (Eds.), Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives (1 ed). Oxford Academic, 193-214

Clarke, E.F. (2005). Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. Oxford University Press.

Cleary, T. (Trans.). (1993). The Flower Ornament Scripture: A Translation of The Avatamsaka Sutra. Shambhala Publications.

Cook, S. (1995). Yue Ji” 樂記 -- Record of Music: Introduction, Translation, Notes,

and Commentary. Asian Music, 26(2), 1-96.

Copland, A. (1939). What to Listen for in Music.  McGraw-Hill Book Company

Cox, R. (1989). Review. The Journal of Aesthetics and Art Criticism, 47(1), 86-89.

Cross, S. (2013). Schopenhauer's Encounter with Indian Thought. University of Hawai'i Press

d'Angiolini, G. (undated). Day after day. http://www.anothertimbre.com/cantilena.html

Davis, B. W. (2011). The Philosophy of Zen Master Dōgen: Egoless Perspectivism. In W. Edelglass & J. L. Garfield (Red.). The Oxford Handbook of World Philosophy. Oxford University Press.

Davis, B. W. (2019). Knowing Limits. Research in Phenomenology, 49(3), 301-334

DeNora, T. (2000). Music in Everyday Life. Cambridge University Press.

DeNora, T. (2003). After Adorno: Rethinking Music Sociology. Cambridge University Press.

the Dharmachakra Translation Committee, trans. (2006). Middle Beyond Extremes: Maitreya's Madhyāntavibhāga. with commentaries by Khenpo Shenga and Ju Mipham. Snow Lion. 

Deutsch, D. (1972). Effect of repetition of standard and comparison tones on recognition memory for pitch. Journal of Experimental Psychology, 93, 156-162

Deutsch, D. (1982). The processing of pitch combinations. In D. Deutsch (ed.). The psychology of music (p. 271-316). Academic Press.

Dewar, K. M., Cuddy, L. L., & Mewhort, D. J. K. (1977). Recognition memory for single tones with and without context. Journal of Experimental Psychology: Human Learning & Memory, 3, 60-67

Di Paolo, E., & De Jaegher, H. (2012). The interactive brain hypothesis. Frontiers in Human Neuroscience, 6, Article 163.

Doty, D. B. (1987) Interview with Lou Harrison. Internet resource. http://www.dbdoty.com/Words/LHInterview_01.html (Retrieved November 1, 2017)

Dowling, W. J. (1978). Scale and contour: Two components of a theory of memory for melodies. Psychological Review, 85, 341-354

Duckworth, D. S. (2008). Mipam on Buddha-Nature: The Ground of the Nyingma Tradition. State University of New York Press. 

Duckworth, D. S. (2019). Tibetan Buddhist Philosophy of Mind and Nature. Oxford University Press.

Duckworth, D., Eckhel, M.D, Garfield, J. L., Powers, J., Yeshe Thabkhas, Sonam Thakchöe (2016). Dignāga's Investigation of the Percept. Oxford University Press.

Duckworth, W. (1995). Talking Music: Conversations with John Cage, Philip Glass, Laurie Anderson, and Five Generations of American Experimental Composers. Schirmer Books

Dunne, J. D. (1996). Thoughtless Buddha, Passionate Buddha. Journal of the American Academy of Religion, 64(3), 525–556.

Dunne, J. D. (2004). Foundations of Dharmakīrti's Philosophy. Wisdom Publications.

Dunne, J. D. (2006). Realizing the unreal: Dharmakīrti’s theory of yogic perception. Journal of Indian Philosophy (34), 497–519.

Dunne, J. D. (2016). Bodhidharma Through Himalayan Eyes. https://www.upaya.org/2016/12/bodhidharma-himalayan-eyes-8-parts/

Dunne, J. D. (2020). Pac-Man to the Rescue? Conceptuality and Non-conceptuality in the Dharmakīrtian Theory of Pseudo-perception. Philosophy East and West, 70(3), 571-593.

Dōgen. (1999). Enlightenment Unfolds: The Essential Teachings of Zen Master Dōgen. (K. Tanahashi, trans.). Shambala.

Dōgen. (2002).  The Heart of Dōgen's Shōbōgenzō (N. Waddell and M. Abe, trans.). State University of New York Press

Dōgen. (2011). Esotetic Words (1243)  (T. P. Kasulis, trans.). In J. W. Heisig, T. P. Kasulis, & J. C. Maraldo (Eds.) Japanese Philosophy: A Sourcebook. (p. 160-161). University of Hawai'i Press.

Dōgen (2013). The Essential Dōgen: Writings of the Great Zen Master (Kazuaki Tanahashi & Peter Lewitt., eds.). Shambala.

Ford, C. & Green, L. (2015). The Phenomenology of Music: Implications for Teenage Identities and Music Education. In F. Pio & Ø. Varkøy (Eds.), Philosophy of Music Education Challenged: Heideggarian Inspirations (p. 147-168). Springer.

Foucault, M. (2002) Archeology of Knowledge (A.M. Sheridan Smith, trans.). Routledge.

Frey, J. & Sansón, G. (undated). Discussion between Venezuelan composer 

Gil Sansón and Jürg Frey. https://www.juergfrey.com/interviews/

Gann, K. (2019). The Arithmetic of Listening: Tuning Theory and History for the Impractical Musician. University of Illinois Press.

Garland, P. (ed.) (1987). A Lou Harrison Reader. Soundings Press.

Gethin, P. (2008). Sayings of the Buddha: A selection of suttas from the Pali Nikāyas. Oxford University Press

Gibson, J. J. (2015). The Ecological Approach to Visual Perception. Psychology Press.

Gibson, J. J., & Gibson, E. J. (1955). Perceptual learning: Differentiation or

enrichment? Psychological Review, 62(1), 32-41.

Gold, J.C. (2015). Paving the great way: Vasubandhu's Unifying Buddhist Philosophy. Columbia University Press. 

Goldstein, J. (2007). Abiding in Mindfulness. Volume 1: The Body. Sounds True.

Goldsmith, K. (2004). Being Boring. https://writing.upenn.edu/epc/authors/goldsmith/goldsmith_boring.html

Graham, A. C. (1960). The Book of Lieh-tzǔ. Grove Press.

Grant, B. (1994). Mount Lu Revisited: Buddhism in the Life and Writings of Su Shih. University of Hawai'i Press.

Grant, B. (2003). Daughters of Emptiness: Poems of Chinese Buddhist Nuns. Wisdom Publications

Greenberg, C. (1940) .Toward a Newer Laocoon. Partisan Review, 7(4), 296-310.

Greene, P. D & Wei Li. (2004). Introduction: Mindfulness and Change in Buddhist Musical Traditions. Asian Music, 35(2), 1-6.

Gregory, P. N. (1991). Tsung-mi and the Sinification of Buddhism. Princeton University Press. 

Griffiths, P. J. (1986). On Being Mindless: Buddhist Meditation And The Mind-Body Problem. Open Court Publishing Company.

Grubbs, D. (2014). Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. Duke University Press.

Gunden, H. von. (1995). The Music of Lou Harrison. The Scarecrow Press.

Guo Gu. (2021). Silent Illumination. Shambala.

Gyurme Dorje (trans.), Padmasambhava (composer), Karma Linga (revealer), G. Coleman (ed.), & Thupten Jinpa (Associate). (2006). The Tibetan Book of the Dead: The Great Liberation by Hearing in the Intermediate States. Penguin Books Ltd.

Hakeda, Y. S. (2006). The Awakening of Faith. Attributed to Aśvaghosa. Columbia University Press

Hakeda, Y. S. (1972). Kūkai: Major Works. Columbia University Press.

Hamar, I. (2007). The Manifestation of the Absolute in the Phenomenal: World Nature Origination in Huayan Exegesis. Bulletin de l'École française d'Extrême-Orient. 94, 229-250.

Hamilton, A. (2009). The Sound of Music. In M. Nudds & C. O'Callaghan (Eds.), Sounds & Perception - New Philosophical Essays. Oxford University Press.

Harder, H & Rusche, V. (2014). No Ideas But In Things: Alvin Lucier Documentary. MV0895. [DVD]. Wergo.

Harris, I. C. (1991). The Continuity of Madhyamaka and Yogācāra in Indian Mahāyāna Buddhism. Brill.

Henrich, J. (2020). The WEIRDest People in the World. Picador. 

Shirane H. (1998). Traces of Dreams: Landscape, Cultural Memory, and the Poetry of Basho. Stanford University Press.

Hasegawa, R. (2008). Just Intervals and Tone Representation in Contemporary Music [Doctoral dissertation]. Harvard University.

Haskins, R. (n.d.). The Extraordinary Commonplace: Cage's Music for Shō, Violin, Conch Shells. http://robhaskins.net/writings/sho_notes.htm. (Accessed September 4, 2012)

Haskins, R. (2004). Liner Notes for John Cage, Two3; Inlets; Two4. https://robhaskins.net/2015/01/19/liner-notes-for-john-cage-two3-inlets-two4-ogreogress-2004/ (Retreived May 1, 2020).

Hayward, R., Sabat, M. (2006). Towards an Expanded Definition of Consonance: Tunable Intervals on Horn, Tuba and Trombone. http://www.robinhayward.de/pdf/artTowardsExp.pdf (Retrieved November 1, 2017)

Heidegger, M. (1971a). On the Way to Language (P.D. Hertz, trans.). Harper & Row.

Heidegger, M. (1971b). Poetry, Language, Thought (A. Hofstadter, trans.). Harper and Row.

Heine, S. (2020). Readings of Dōgen's Treasury of the True Dharma Eye. Columbia University Press.

Heine, S. (2020b). Flowers Blooming on a Withered Tree: Giun's Verse Comments on Dōgen's Treasury of the True Dharma Eye. Oxford University Press.

Hinton, D. (2008). Classical Chinese Poetry: An Anthology. Farrar, Straus and Giroux.

Hinton, D. (ed. & trans.). (1993). The Selected Poems of T'ao Ch'ien. Copper Canyon Press.

Hubbard, J. (2008) Original Purity and the Origin of Delusion. Online Publications of Jamie Hubbard, https://sophia.smith.edu/~jhubbard/publications/papers/OriginalPurity.pdf

Huron, D. (2006). Sweet Anticipation: music and the psychology of expectation. MIT Press.

Ihde, D. (2007). Listening and Voice: Phenomenologies of Sounds (2nd ed). State University of  New York Press.

Jaeger, P. (2013). John Cage and Buddhist Ecopoetics. Bloomsbury.

Jakobsson, A. (2012). Sociokulturella perspektiv på lärande och utveckling. Lärande som begreppsmässig precisering och koordinering. Pedagogisk forskning i Sverige, 17(3-4), 152-170

James, W. (1890). The principles of psychology, Volume I. Holt.

Janaway, C. (1997). Kant's Aesthetics and the ‘Empty Cognitive Stock’. The Philosophical Quarterly, 47(189), 459–476.

Jia, Jinhua. (2006). The Hongzhou School of Chan Buddhism in Eighth-through Tenth-Century China. State University of New York Press.

Jinpa, Thupten (ed.) (2020) Science and Philosophy in the Indian Buddhist Classics. Volume 5: The mind. Wisdom Publications.

Johnston, B. (1964). Scalar Order as a Compositional Resource. Perspectives of New Music, 2/2, 56-76.

Jullien, F. (2004). In Praise of Blandness. Zone Books

Kamo no Chōmei. (1968). An Account of My Hut. In D. Keene (ed. and trans.), An Anthology of Japanese Literature. Penguin Classics. Chaucer Press Ltd.

Kano K. (2016). Jñānaśrīmitra on the Ratnagotravibhāga. In N. Baba (ed.), Relationship between Tantric and Non-Tantric Doctrines in Late Indian Buddhism. Special issue, Oriental Culture 96, 7–48.

Karma Chagmé. (2000). Naked Awareness: Practical Teachings on the Union of Mahāmudrā and Dzogchen (B A. Wallace, trans.). Snow Lion.

Kasulis, T. P. (1981). Zen Action/Zen Person. University of Hawai'i Press.

Kasulis, T. P. (2018). Engaging Japanese Philosophy: A Short History. University of Hawai'i Press.

Kawabata Y. (1956). Snow Country (E. Seidensticker, trans.). Knopf.

Keenan, J. P. (1982). Original Purity and the Focus of Early Yogācāra. The Journal of the International Association of Buddhist Studies, 5(1),  7-18.

Khedrup Je (root text), Sera Jey Monastic University Translation Department (translation & commentary), Geshe Tenzin Namdak & Ven. Tenzin Lengtsok (eds.). (2022) Freedom through Correct Knowing, On Khedrup Je's Interpretation of Dharmakirti's Seven Treatises on Valid Cognition. Wisdom Publications.

Khenchen Thrangu Rinpoche. (2002). The Life of Tilopa & The Ganges Mahamudra. Namo Buddha Publications & Zhyisil Chokyi Ghatsal Publications.

Kim-Cohen, S. (2009). In the Blink of an Ear. Continuum.

Knappet, C. & Malafouris, L. (Eds.). (2008). Material Agency: Towards a Non-Anthropocentric Approach. Springer.

Kostelanetz, R. (2003). Conversing with Cage. Routledge.

Kragh, U. T. (2013). The Yogācārabhūmi and Its Adaptation: Introductory Essay with a Summary of the Basic Section". In U. T. Kragh (ed.), The Foundation for Yoga Practitioners: The Buddhist Yogācārabhūmi Treatise and Its Adaptation in India, East Asia, and Tibet (22-287). The Department of South Asian Studies, Harvard University.

Krumhansl, C. L. (1979). The psychological representation of musical pitch in a tonal context”. Cognitive Psychology, 11, 346-374

Krumhansl, C. L. (1990). Cognitive Foundations of Musical Pitch. Oxford University Press.

Krumhansl, C.L., Cuddy, L.L. (2010). A Theory of Tonal Hierarchies in Music. In M.R. Jones, R.R. Fay, A.N. Popper (Eds.), Springer handbook of auditory research: Vol. 36. Music perception (p. 51-87). Springer.

Kunsang, E. P. (1986). The Flight of the Garuda. Rangjung Yeshe Publications

Kwon Miwon. (2002). One Place After Another: Site-Specific Art and Locational Identity. The MIT Press.

Köppl, H. I. (2008). Establishing Appearences as Dive: Rongzom Chözang on Reasoning, Madhyamaka, and Purity. Snow Lion Publications.

LaBelle, B. (2006). Background Noise: Perspectives on Sound Art. Continuum.

LaFleur, W. (2003). Awesome Nightfall: The life, times, and poetry of Saigyō. Wisdom Publications.

LaFleur, W. R. (1973). Saigyō and the Buddhist Value of Nature. Part I. History of Religions, 13(2), 93-128

LaFleur, W. R. (1974). Saigyō and the Buddhist Value of Nature. Part II. History of Religions, 13(3), 227-248

LaFleur, W. R. (1983). The Karma of Words: Buddhism and the Literary Arts in Medieval Japan. University of California Press.

Latour, B. (1999). Pandora’s Hope: Essays on the Reality of Science Studies. Harvard University Press.

Lau, D. C. (trans.) (1970). Mencius. Penguin.

Lee U. (2011). Beyond Being and Nothingness: On Sekine Nobuo [excerpts]. In A. Munroe  (ed.), Lee Ufan: Marking Infinity. Guggenheim Museum Publications, p. 112.

Lee U. (2018). The Art of Encounter. Lisson Gallery & Serpentine Galleries.

Lee Ufan & Sook-Kyung Lee (2014). Man and nature united. In the studio: Lee Ufan. https://www.tate.org.uk/tate-etc/issue-31-summer-2014/man-and-nature-united

Lee. S. (2019). On the Ālayavijñāna in the Awakening of Faith: Comparing and Contrasting Wŏnhyo and Fazang’s Views on Tathāgatagarbha and Ālayavijñāna. Religions, 10(9), 536. MDPI AG. Retrieved from http://dx.doi.org/10.3390/rel10090536

Leighton, T. D. (ed.) (2000). Cultivating the Empty Field: the Silent Illumination of Zen Master Hongzhi. Tuttle Publishing.

Levinson, J. (1997). Music in the Moment. Cornell University Press.

Li Zehou. (2010). The Chinese Aesthetic Tradition (M. Bell Samei, trans.). University of Hawai’i Press.

Linell, P. (2009). Rethinking Language, Mind, and World Dialogically. Information Age Publishing.

Liu, C. (2017). Regulating the Performing Arts: Buddhist Canon Law on the Performance and Consumption of Music in Tibet. Revue d’Etudes Tibétaines, 40, 44-91.

Liu, C. (2018). Reciting, Chanting, and Singing: The Codification of Vocal Music in Buddhist Law. Journal of Indian Philosophy, 46, 713-752 https://doi.org/10.1007/s10781-018-9360-8

Longchenpa (2019). Padmakara Translation Group (trans.). Finding Rest in Illusion: The Trilogy of Rest, Volume 3. Shambala. E-book.

Lopez, F. (1996). Cagean philosophy: a devious version of the classical procedural paradigm. http://www.franciscolopez.net/cage.html. (Retrieved August 6, 2012)

Luntley, M. (2003). Non-conceptual Content and the Sound of Music. Mind & Language, 18(4), 402-426

Lusthaus, D. (2002). Buddhist Phenomenology. Routledge.

Lynn, R. J. (2004). Poetry as self-cultivation: neo-confucianism in Yan Yu and Gao Bing. In V. Shen & W. Oxtoby (eds.), Wisdom in China and the West. CRVP

Mabja Jangchub Tsöndrü. (2011). Ornament of Reason. Snow Lion Publications.

Mans, M. (2009). Living in Worlds of Music: A View of Education and Values. Springer.

Marra, M. F. (2010). Essays on Japan: Between Aesthetics and Literature. Brill.

Martin, A. (1991). Writings. Kunstmuseum Winterthur / Edition Cantz.

Marton, F. & Booth, S. (2000). Om lärande. Studentlitteratur.

Mathur, A., Vijayakumar, S. H., Chakrabarti, B., Singh, N. C. (2015). Emotional responses to Hindustani raga music: the role of musical structure. Frontiers in Psychology, 6, 513. 

Mazanec, T. J. (2017). The Invention of Chinese Buddhist Poetry: Poet-Monks In Late Medieval China [Doctral Dissertation]. Princeton University.

McMahan, D. L. (2008). The Making of Buddhist Modernism. Oxford University Press.

Mead, G.H. (1934). Mind, Self, and Society from the Standpoint of a Social Behaviorist. University of Chicago Press.

Merleau-Ponty, M. (1979). Phenomenology of Perception (C. Smith, trans.). Routledge & Kegan Paul

Miller, G, A. (1956). The magic number seven, plus or minus two. Psychological Review, 63, 81-97

Miller, L., Lieberman, F. (1998) Lou Harrison: Composing a World. Oxford University Press.

Miller, S. D. (2013). The Wind from Vulture Peak: The Buddhification of Japanese Waka in the Heian Period. Cornell East Asia Series.

Morton, T. (2007). Ecology without Nature. Cambridge: Harvard University Press.

Morton, T. (2010) The Ecological Thought. Harvard University Press

Morton, T. (2010b, 16/11), La Selva. Ecology Without Nature (blog). http://ecologywithoutnature.blogspot.com/2010/11/la-selva.html (Retrieved May 19, 2015)

Morton, T. (2010c). Ecology as text, text as ecology. Oxford Literary Review 32(1), 1-17. 

Morton, T. (2013). Hyperobjects: Philosophy and Ecology After the End of the World. University of Minnesota Press

Morton, T.  (2013b, 27/08). My Bloody Valentine in Denver. Ecology Without Nature (blog). http://ecologywithoutnature.blogspot.com/2013/08/my-bloody-valentine-in-denver.html  (Retrieved April 30, 2015).

Munroe, A.  (ed.). (2011). Lee Ufan: Marking Infinity. Guggenheim Museum Publications.

Muller, A. C. (trans) (1999). The Sutra of Perfect Enlightenment: Korean Buddhism's Guide to Meditation (with Commentary by the Sŏn Monk Kihwa). State University of New York Press.

Musō Kokushi (1996). Dream Conversations: On Buddhism and Zen. (T. Cleary, trans.). Shambala

Musō Soseki (2015). Dialogues in a Dream: the Life and Zen Teachings of Musō Soseki (T. Y. Kirchner, trans.). Wisdom Publications.

Nagao G.M. (1991). Mādhyamika and Yogācāra. State University of New York Press.

Nechvatal, J. (2014). A book review of Against Ambience by Seth Kim-Cohen. On-Verge, June 30. http://www.on-verge.org/reviews/book-review-against-ambiance/ (Retrieved April 30 2015)

Nicholson, T., Sabat, M. (2018). Fundamental Principles of Just Intonation and Microtonal Compositions. http://www.marcsabat.com/pdfs/JI.pdf (retrieved June 9, 2019)

Nishida K. (1987). An Explanation of Beauty (S. Odin, trans.). Monumenta Nipponica, 42(2), 211–217.

Novak, D. (2010). Playing Off Site: The Untranslation of Onkyô. Asian Music, 41(1), 36-60

Odin, S. (1996). The Social Self in Zen and American Pragmatism. State University of New York Press.

Odin, S. (2001). Artistic Detachment in Japan and the West. University of Hawai’i Press

Ouzounian, G. (2013). Sound installation art: from spatial poetics to politics, aesthetics to ethics". In G. Born (ed.), Music, Sound and Space Transformations of Public and Private Experience (p. 73-89). Cambridge University Press.

Padmakara Translation Group. (2002). Introduction to the Middle Way (Candrakirti's Madhyamakāvatāra with Mipham Rinpoche's Commentary). Shambhala

Pandey, R. (1998). Writing and Renunciation in Medieval Japan: The Works of the Poet-Priest Kamo no Chōmei. Center for Japanese Studies, The University of Michigan.

Park, So Jeong. (2015). Music as a necessary means of moral education: a case study from reconstruction of Confucian culture in Joseon Korea. International Communication of Chinese Culture, 2, 123–136

Paynter, J. (1982). Music in the Secondary School Curriculum: Trends and developments in class music teaching. Cambridge University Press

Philips, D.C. & Soltis, F. (2014). Perspektiv på lärande. Studentlitteratur

Pisaro, M. & Dougherty, W. (2018). The Riddle of Silence: An interview with Michael Pisaro. Van Magazine. https://van-magazine.com/mag/michael-pisaro/

Pisaro, M. (2009). Wandelweiser. http://erstwords.blogspot.jp/2009/09/wandelweiser.html (Retrieved October 23, 2015)

Poceski, M. (2007). Ordinary Mind as the Way: The Hongzhou School and the Growth of Chan Buddhism. Oxford University Press.

Poceski, M. (Cheng Chien Bhiksu) (1992). Sun-face Buddha: the teachings of Ma-tsu and the Hung-chou School of Ch'an. Asian Humanities Press.

Polansky, L. (1987). Item: Lou Harrison’s role as a speculative theorist. In P. Garland (ed.), A Lou Harrison Reader (p. 92). Santa Fe: Soundings Press

Polansky, L. (2009). Three very good ideas. http://eamusic.dartmouth.edu/~larry/misc_writings/talks/three_excellent_ideas/seattle_talk.pdf (retrieved November 1, 2017)

Pollack, D. (1986). The Fracture of Meaning: Japan's Synthesis of China from the Eighth through the Eighteenth Centuries. Princeton University Press.

Pollock, S. (2016). A Rasa Reader. Columbia University Press.

Princenthal, N. (2015). Agnes Martin: Her Life and Work (E-Book). Thames & Hudson

Protass, J. (2016). Buddhist Monks and Chinese Poems: Song Dynasty Monastic Literary Culture [Doctoral dissertation]. Princeton University.

Rao, Krishna, H.P. (1916). The Psychology of Music. The Wesleyan Mission Press. 

Red Pine (trans.) (2006). The Platform Sutra: The Zen Teaching of Hui-Neng. Counterpoint.

Reeves, G. (trans.) (2008). The Lotus Sutra. Wisdom Publications.

Reich, J. D. (2016). Meaning and Appearance: The Theology of Literary Emotions in Medieval Kashmir [Doctoral dissertation]. Harvard University, Graduate School of Arts & Sciences.

Reps, P. (1961). Zen Flesh, Zen Bones: A Collection of Zen & Pre-Zen Writings. Anchor Books.

Rouzer, P. (2016). On Cold Mountain: A Buddhist Reading of the Hanshan Poems. University of Washington Press.

Rouzer, P. (trans.) (2020). The Poetry and Prose of Wang Wei. Volume II. De Gruyter.

Sabat, M. (2005). Intonation and Microtonality. https://nmbx.newmusicusa.org/intonation-and-microtonality/ (retrieved November 1, 2017)

Sabat, M. (2008/2009). An algorithm for real-time harmonic microtuning. http://www.marcsabat.com/pdfs/MM.pdf (retrieved November 1, 2017)

Sabat, M. (2015). Gioseffo Zarlino. http://www.marcsabat.com/pdfs/gz.pdf (retrieved June 11, 2019)

Saito Yuriko. (2007). Everyday Aesthetics. Oxford University Press.

Saunder, J. & Beuger, A. (2009). Interview with Antoine Beuger. https://www.james-saunders.com/interview-with-antoine-beuger/

Schmidt, S. (2016). Musical Extrapolations: Creative Processes Involved While Music is Being Listened to and Composed. Springer VS.

Schopenhauer, A. (1958) The World as Will and Representation. 2 vols (E. F. J. Payne, trans.). Dover.

Scruton, R. (1997). The Aesthetics of Music. Oxford University Press.

Scruton, R. (2001). Kant - A very Short Introduction. Oxford University Press

Scruton, R. (2009). Understanding Music. Continuum.

Sebestik, M. (Director). (1992). Écoute [film]. JBA Production.

Seel, M. (2005). Aesthetics of Appearing (J. Farrell, trans.). Standford University

Press.

Serafine, M. L. (1988). Music as Cognition: The Development of Thought in Sounds. Columbia University Press.

Sharf, R. (2018). Knowing blue: Early Buddhist accounts of non-conceptual sense perception. Philosophy East and West, 68(3): 826-870.

Sharf, R. H. (1995). Buddhist Modernism and the Rhetoric of Meditative Experience. Numen, 42(3), 228–283.

Sheng-yen. (1999.) Complete Enlightenment: Zen comments on the Sutra of Complete Enlightenment. Shambala.

Shigematsu Sōiku. (1981). A Zen Forest: Sayings of the Masters. Weatherhill.

Shusterman, R. (2009). Body Consciousness and Performance: Somaesthetics East and West. The Journal of Aesthetics and Art Criticism, 67(2), 133-145

Siderits, M. (2007). Buddhism as Philosophy: an Introduction. Ashgate.

Siderits, M. (2022). How Things Are: An Introduction to Buddhist Metaphysics. Oxford University Press.

Stockfelt, Ola (2004). Adequate Modes of Listening. In C. Cox & D.Warner (Eds.), Audio

Culture: Readings in Modern Music (88-93). Continuum.

Sturman, P. C. (2016) Landscape. In M. J. Powers & K. R. Tsiang (Eds.), A Companion to Chinese Art (p. 177-196). John Wiley and Sons, Inc.

Svensson, K. (2023). Variationer i estetiskt lyssnande: nio gymnasieelevers verkliggörande av Wéi biān sān jué. [Uppsats för yrkesexamina på grundnivå] Linnéuniversitetet/Institutionen för musik och bild (MB)

Swanwick, K. (1988). Music, Mind and Education. Routledge.

Swanwick, K. (1994). Musical Knowledge: Intuition, Analysis and Music Education. Routledge.

Swanwick, K. (1999). Teaching Music Musically. Routledge.

Säljö, R. (2000). Lärande i praktiken - Ett sociokulturellt perspektiv. Norstedts Akademiska Förlag

Takemitsu T. (2004). On Sawari (H. de Ferranti & Y. U. Everett, trans.). In Y. U. Everett & F. Lau (Eds.), Locating East Asia in Western Art Music. Wesleyan University Press.

Tanahashi K. (2012). Sky Above, Great Wind: The Life and Poetry of Zen Master Ryokan.  Shambala Publications.

Taylor, C. (1989). Sources of the Self: the Making of the Modern Identity. Harvard University Press.

Tenney, J. (1984). John Cage and the Theory of Harmony. In P. Garland (ed.). The Music of James Tenney (p. 55-83). Soundings Press.

Tsele Natsok Rangdrol (1989). Erik Pema Kunsang (trans.) Lamp of Mahamudra. Shambala

Tsongkhapa (2001). Thupten Jinpa (trans.) Illuminating the Intent. Wisdom Publications.

The Yakherds. (2021). Knowing Illusion: Bringing a Tibetan Debate into Contemporary Discourse. Volume I: A Philosophical History of the Debate. Oxford University Press.

The Lankavatara Sutra (trans. and comm. Red Pine) (2012). Counterpoint.

The Śūraṅgama Sūtra (undated) (Upāsa Lu K’uan Yü, trans.). Inter resource.      http://www.buddhanet.net/pdf_file/surangama.pdf (Retreived August 7, 2020)

Thompson, E. (1995). Color Vision: A Study in Cognitive Science and the Philosophy of Perception. Routledge

Thompson, E. (2020). why i am not a buddhist. E-Book New Haven: Yale University Press.

Thompson, E. (2021). What’s in a Concept? Conceptualizing the (Not-Non)Conceptual and the (Not-Non)Nonconceptual in Buddhist Philosophy and Cognitive Science. In C. Coseru (ed.). Reasons and Empty Persons: Mind, Metaphysics, and Morality: Essays in Honor of Mark Siderits. Springer.

Thompson, J. Internet resource, no date. http://www.silkqin.com Accessed May 1, 2020

Thomson, I. D. (2011). Heidegger, Art, and Postmodernity. Cambridge University Press.

Thornhill III, A. H. (1998). "Impersonality" in Bashō. In T. R. Ames, P. T. Kasulus, & W. Dissanayake (eds.) Self as Image. State University of New York Press

Thurman, R. A. F. (trans.). (1976). The Holy Teaching of Vimalakīrti: A Mahāyāna Scripture. The Pennsylvania State University Press.

Tien, A. (2015). The Semantics of Chinese Music. John Benjamins Publishing Company.

Tomasello, M. (2019). Becoming Human: A Theory of Ontogeny. Harvard University Press.

Urban, H. B. & Griffiths, P. J. (1994). What Else Remains in Śūnyatā? An Investigation of Terms for Mental Imagery in the Madhyāntavibhāga-Corpus. Journal of the International Association of Buddhist Studdies, 17(1), 1-25.

Van Gulik, R. (1940). Lore of the Chinese Lute. An Essay in Ch’in Ideology (Momenta Nipponica Monographs, 3). Sophia University.

Varela, F., Thompson, E., & Rosch, E. (2016). The embodied mind: cognitive science

and human experience (2 ed). MIT Press.

von Glasersfeld, E. (1989). Cognition, Construction of Knowledge, and Teaching. Synthese 80(1), 121-140

Wallerstedt, C. (2010). Att peka ut det osynliga i rörelse: En didaktisk studie av taktart i musik (ArtMonitor, 21) [Doktorsavhandling]. Göteborgs Universitet.

Wallrup, E. (2012). Musical Attunement: The concept and phenomenon of Stimmung in music [Doctoral dissertation]. Stockholm University

Wang Wei (2020). The Poetry and Prose of Wang Wei. Volume II. (P. Rouzer, trans). De Gruyter.

Watsuji Tetsuro. (2011). Purifying Zen (S. Bein, trans.). University of Hawai'i Press.

Watt, J. (1981, November). The Qin and the Chinese Literati. Orientations Magazine, 38-49.

Wayman, A. & Wayman H. (trans.) (1974). The Lion's Roar of Queen Śrīmālā: A Buddhist Scripture on the Tathāgatagarbha Theory. Columbia University Press.

Wei Li. (1992). The Duality of the Sacred and the Secular in Chinese Buddhist Music: An Introduction. Yearbook for Traditional Music, 24, 81-90

Wertsch, J.V. (1998). Mind as action. Oxford University Press.

Williams, P. (2000). Buddhist Thought: A complete introduction to the Indinan tradition. Routledge.

Williams, P. (2009). Mahāyāna Buddhism: The doctrinal foundations (2nd ed.).  Routledge.

Windsor, W. L. (1995) A Perceptual Approach to the Description and Analysis of Acousmatic Music [Doctoral Dissertation]. City University.

Yongyey Mingyur Rinpoche. (2019). Meditating with Beethoven. Tricycle.  https://tricycle.org/trikedaily/classical-music-meditation/ (Accessed online June 11, 2019)

Yoshitake, M. M. (2012). Lee Ufan and the Art of Mono-ha in Postwar Japan (1968-1972) [Doctoral Dissertation] UCLA. https://escholarship.org/uc/item/55h0p4rt (Retrieved November 3, 2013)

Young, J. (2001). Heidegger's Philosophy of Art. Cambridge University Press.

Young, J. (2005). Schopenhauer. Routledge.

Yusa M. (1987). Riken no Ken. Zeami's Theory of Acting and Theatrical Appreciation.  Monumenta Nipponica, 42(3), 331-345

Zahavi, D. (2011). The Experiential Self: Objections and Clarifications. In M. Siderits, E. Thompson & D. Zahavi (Eds.), Self, No Self? (p. 56-78). Oxford University Press.

Zeami (2006). The Spirit of Noh: a New Translation of the Classic Noh Treatise the Fushikaden (W. S. Wilson, trans.). Shambala.

Zhang, D. (2016). Engaged but not Entangled: Miaofeng Fudeng 妙峰福登 (1540–1612) and the Late Ming Court. In T. Jülch (ed.). The Middle Kingdom and the Dharma Wheel: Aspects of the Relationship between the Buddhist Saṃgha and the State in Chinese History (p. 322-378). Brill.

Ziff, P. (1966). Philosophical Turnings, Essays in Conceptual Appreciation. Cornell University Press

Pointillism

After listening to European classical music, I often find myself contemplating its strong resemblance to impressionistic visual art. I'm not just drawing this connection from the impressionistic music of Debussy and Ravel, but from a common characteristic of European classical music that has been present since the Baroque era. When encountering both European classical music and paintings by artists like Monet, I notice the need to view the art from a significant distance to accurately interpret its gestural and figurative elements. In a gallery, we must physically step back to transform the brush strokes into recognizable images, like water lilies. When we stand too close, we can't perceive the figures accurately. Likewise, when being musically attuned to much European classical music, I take a metaphorical 'step back' by adjusting my 'psychic' distance. In the gallery space, the reason is transparently clear. With musical attunement, the nature of this 'step back' is more difficult to capture since it is about how we conduct our awareness when listening to this music.  

Figure 1 

One of the main explanatory models that I have come to use when describing the reason for this 'step back' is to point to the music's proclivity for the sweepingly gestural. To speak of sweeping gestures is to refer to those larger musical figures, containing an abundance of tones, wherein the exact individual tones are not 'melodically charged' or particularly important—it is rather the 'general' or 'statistical' movement of the whole figure that counts. The inner details of those sweeping gestures are not carved out too carefully since the listeners will not 'hear' them. If the origin of these sweeps can be traced to the preludes non mesurés of French Baroque composers such as Louis Couperin, the most extreme form of sweepingly gestural music can perhaps be found in some of those orchestral pieces by composers like Iannis Xenakis that utilizes large 'cloud formations'. Most billowy movements in Romantic piano music are also sweepingly gestural in nature (see for example Franz Liszt’s Liebes Träume in Figure 1), and the sweeping gestures had a very prominent position in 19th-century and early 20th-century French music—from Debussy to Boulez. 

Figure 2 is a detail from Messiaen's Turangalîla-Symphonie. Here we see one sweeping gesture in the piano followed by a collective sweeping gesture in the woodwinds. In neither case is any single melodic line, internal counterpoint, or moment of voice-leading emphasized within the groups. What rather is important is the 'panoramic' movements of the sweeping gestures. If we try to listen to the inner counterpoint, the moment-to-moment voice-leading, the fine intonation, or the harmonic tension and resolution between the progression of chords within these sweeping gestures, we would be listening inadequately. In fact, we would even be listening against and contrary to the elemental processes described by the theory of auditory scene analysis (Bregman, 1990) that explains how our auditory perception automatically 'groups together' such configurations of sounds into broader gestures.

Figure 2

In the excerpt from Turangalîla, these 'billowy masses' obscure, in a certain sense, a 'sense of melody'. Of course, I use the word 'melody' here in its most 'conservative' sense possible for the sake of contrast. Jerrold Levinson in Music in the Moment gives an apt account of this conservative view of melody when describing the aesthetics of Edmund Gurney. His lucid explanation is worth quoting at length:

"The most important criterion of melody for Gurney is that it be a sequence of notes that together have a certain minimum “rightness.” This rightness can be understood, it seems, counterfactually, in terms of the effects that changing single notes would bring about […] The special quality or character of a given melody is dependent on every note it comprises; change any one and invariably the result will be either no melody or new melody. Any true conception of the form of a melody requires apprehending each and every element for what it is as it occurs. By contrast, the general outline or contour of a melody gives practically no idea of the melody whatsoever. The essence of a melody lies in the specific notes that go to make it up, and not in anything more general that may be abstracted from them." (Levinson 1997, 4-5) 

Reading the excerpt from the Turangalîla-Symphonie against Gurney’s criteria (as told by Levinson), we will have to admit that the important thing in Messiaen’s sweeping gestures is precisely only "the general outline". It is possible to change pitches within these movements without changing the essence of the gesture/figure. What we hear as a melody is not so much a sharp line as it is a fuzzy one—a pitch cloud where the inner details are unimportant. 

The important question then becomes: what does replacing (traditional) melodies with such 'clouds' in which the details are interchangeable do to our listening experience? My answer, as stated at the very beginning of this text, is that they make us take on a kind of 'psychic distance' to the melodies, similar to the spatial distance we have to adjust to in order to see the lilies emerge from the paint that Monet applied to the canvas. 

The very opposite of sweepingly gestural music is pointillistic music. Consider for example the traditional music for the gǔqín. This music, with all its many varieties of ornaments to a monophonic melody—its different shades of vibrati, soft dynamics, and contrasting usage of registers and playing techniques—contains effectivities that afford, contrary to Lizst and Messiaen, a very 'close listening'–a detailed listening. If the pitch sequence was presented with homogeneous timbres (where each pitch is plucked in the same way), this detailed listening would not appear. Because of this pointillistic articulation, I listen to this music with a kind of microaudial attention to the sounds. Because of the heightened focus on the timbre of single sounds, the difference between for example stopped notes and open strings becomes incredibly vast and impactful, and I know few other kinds of music where this happens.

Figure 3

Generally speaking, music that invites 'detailed listening' seems to operate at certain perceptual boundaries. A prerequisite to being musically attuned to a mode of listening where the intimate details of sound become so impactful as in the gǔqín music seems to be a ground of musical simplicity. On a temporal plane, enough time has to be given to the listener. The music can not move too fast. On a textural plane, certain boundaries regarding the textural density need to be taken into consideration. The music cannot be too 'thick' and complex, but rather must be slender. In the gǔqín music, the articulation of simple, slowly evolving monophonic melodies combined with a pointillistic inhomogeneity in the components making up a phrase seem to invite this 'detailed' listening.

Figure 3, which features just one single right-hand stroke from the famous composition Shuǐxiān (水仙), illustrates the inner workings of this gǔqín repertoire. The pitch is stopped with the ring finger (名指）at the huī (徽) position wài (外＝卜) on the fourth (四) string, plucked with the middle finger inwards (gōu 勾). The sound is starting a little to the right and makes a short glissando down to the indicated pitch. This ornament is called zhù ( 注). After the pitch 卜 is clearly established, the left hand moves up (上) to the huī position 9,8 (九 八) where the ornament náo is applied (猱), which is a sliding movement that moves up and down twice from the pitch where the second movement is smaller in its scope. Landing again at 9,8 this “phrase” is finished with the yǎn (罨): while keeping the ring finger on 9,8 one 'places' the thumb (大指 = 大) on the huī position 9 hard enough to make that pitch sound.  

This is a complex melody indeed but it is a complexity that invites the listener to actualize the subtleties of sound. It is therefore a very different complexity from the cascade of pitches employed in the excerpt by Liszt. The mode of listening is one of closeness, rather than distance, and one of detailed intimacy with the variegated sounds. The variety of ways of plucking the strings and ways of ornamenting them creates an overall pointillistic texture where each note is given heightened attention and a unique profile.

Note that this is definitely not the same as saying that each sound is played as if it existed outside of larger musical phrases and forms. Such an attitude would be a kind of musical variation on the visual connoisseurship that sometimes, according to its academic critics, could be found in extremist fractions of the wénrén-huà​ (文人画). For these particular literati painters, the true meaning of any painting was placed primarily in the brushwork rather than in the depicted scene. The ink traces of the brush on silk were read and interpreted in a way divorced from the figurative 'subjects' that were made up from combining such brush strokes. When these extremist literati focused their attention on the qín, an inappropriate focus on 'the single sounds' and the 'touch' of the musician was to be expected. Van Gulik, who to a large extent introduced the qín to European audiences, was colored by the approach of the literati when he described qín music as being 'not primarily melodic' (1940, 1-2) and that the beauty of it was in the sculpting out of each separate pitch as an entity in itself. James Watt (1981) describes this tendency as especially strong in the Guandong school:

"It is well known to those who appreciate the Chinese visual arts that in later Chinese painting the expressive brushwork became more important than the representational content of the picture; hence the movement towards a kind of 'abstract expressionism' which relied on greatly simplified pictorial conventions for any allusion to physical reality. Similarly, the sensuous tones of the qin strings during the same period [from Ming and forward] became predominant in qin music in many regional schools of playing, and the melodic line, which is the other important element of the music, became neglected to the point of almost total disregard. This tendency is particularly notable in the Guangdong 廣東 school of playing in recent years" (Watt, 1981).

With traditional qín music, it is simply not the case that we hear each sound 'in and of itself'. Sounds are always related to a melody, phrase, form, and modality. But we are, it must be acknowledged, simultaneously with this melody allowed to listen very closely to the separate sounds and discover their unique riches by way of a pointillistic articulation. To say that we hear 'each sound by itself' might be a pedagogical device when we want to direct a student's attention to something that we find valuable in this music—the most private intimacies of sound–, but we cannot say that it is an accurate description of the adequate mode of listening to this music. In order to describe this adequate mode of listening, we also have to emphasize how the sounds connect. The importance of finding a balance between melody and pointillism was indeed addressed by the master Xú Shàng Yíng (徐上瀛) in his 17th-century qín-treatise Xī Shān Qín Kuàng (溪山琴況). Master Xú stresses that in order to not lose ourselves in the intricacies of present-moment awareness and the subtleties (細 xì) of sound, we have to bring a careful balance to the interplay of macro-and micro-perspectives. This is expressed beautifully by master Xú in the perhaps paradoxical saying that: “notes must sound tightly arranged though appearing sporadic; they must rise and fall gracefully and be well-linked though appearing disconnected” (in Tien, 2015, 88).

Master Xú's paradox expresses the insight that the three times of past, present, and future must be allowed to exist unobstructedly. The music must be performed so that neither past, present, nor, future is given primacy. Xú's paradox has an interesting parallel to Buddhist meditation practice as I understand it: while the novice meditators focuses on 'the present moment' in order to free themselves from conceptual proliferation and 'mental time-travel', this focus on the present moment alone must, when advancing on the path, ultimately be replaced by an experience of time that is not divided up into past, present, and future. The experienced meditator actualizes instead the total interfusion of past, present, and future as elaborated in the Avataṃsaka Sūtra's teaching of emptiness as the unobstructed interpenetration of phenomena.

Michael Pisaro (2009) pointed out that in a lot of early Wanderweiser music, the heightened focus on silence and very few, sparse sounds caused a heightened focused listening where single sounds took on the complexity of the music that Xenakis only achieved with masses of sound: “Once I did start to hear it, over the course of the nearly two hours duration, the music became almost unbelievably rich: there seemed to be more sound, more tightly compacted in this miniature world, than in the statistical complexities of Xenakis”. But Pisaro’s remark must be read as a metaphor: it is not really the case that listening to this prototypic Wandelweiser-piece provides the 'same' type of complexity as listening to the prototypical Xenakis piece. With Xenaki's sweeping gestures, there is none of the intimacy and closeness that the pointillistic approach favored by Wandelweiser composers affords. But it is true that since our listening to the sparse sounds becomes so detailed and rich, we can metaphorically compare it to the rich, busy, thick music by Xenakis.

Another point that is important to emphasize—one that might be slightly misrepresented with Pisaro's quote above—is that this 'detailed' listening that pointillism affords is not so much a deep listening as it leads to attention to the 'surface' of sounds. The constantly shifting timbres of the qín melody draw attention to each sound's unique mode of appearing, and by bringing focus to sounds' mere appearance, the empty, transparent, aspect of sound is revealed: the detailed listening does not lead to us going deep into the sound but rather makes us realize that sounds are empty and transparent–that surface appearances are all there is. This difference between depth and surface has nothing to do with how 'absorbed' we are in the experience—it has to do with the quality of the mode of listening, not the quality of our engagement with the mode. Attending closely to the sounds themselves means that we become aware of their ground of emptiness. The edges around phenomena become transparent. This is because everything we discern closely enough disappears into its fundamental empty nature. There is a tendency in our ordinary everyday (saṃsāric) life for the empty natures of particular phenomena to be hidden from us. This is so because we do not discern the phenomena closely. Dùshùn (杜順), the first patriarch of the Huáyán school, described how the shì (事)—the particular phenomena—can hide the lǐ (理)—the universal principle. Even though shì ultimately is indistinguishable from lǐ, saṃsāric causal events can lead to situations where "only the events appear, but the Li does not appear" (trans. Chang, 1971, 217). It is like "when water becomes waves, the aspect of motion appears while the aspect of stillness does not appear at all" (Chang, 1971, 217) When the movements of the water become too big, we grasp it from a distance as a wave. The form hides its empty nature. What is sweepingly gestural in music and sounds like billowy masses are just like such waves that hide the lǐ. 

As Dùshùn points out, it is also through the shì that the lǐ can be revealed. The process in which gestures hide the empty nature of phenomena can be turned around so that phenomena reveal their empty nature. This happens when shì intimates lǐ: "When Shih grasps Li, Shih is emptied and Li is substantiated; and because the Shih is emptied, the Li that "dwells" in the total Shih vividly manifests itself" (Chang, 1971, 217). In music, to have sounds vividly manifest themselves as dwelling in emptiness can be achieved by a pointillistic approach, and not with a billowy approach. This is one of the reasons that pointillistic approaches are useful ingredients in Buddhist poetics that through art seeks to intimate emptiness. In emptiness-experiences, sounds arise and disappear as fleeting, empty 'surface' phenomena, as empty movements of Mind. But using pointillistically varied textures is just one way of fascilitating a 'detailed' musical attunement that leads to a revelation of sound's emptiness. Other important ways constitute specific usages of intonation, dynamics, and timbre. These different parameters often work together. With regards to the gǔqín, the soft volume, the shifting timbres, the complexity in intonation, and the pointilistic structure through which these are presented together create very intimate and 'detailed' modes of listening. 

This focus on the 'surface' rather than 'depth' of phenomena is revealed in the music's openness to co-exist with the surrounding non-objectified background ambient sounds; the music does not only lead to a concentrated focus on the sounds of the music but also makes other ambient sounds present. These background sounds become present but without becoming the explicit object of attention. They become, in other words, present as emptiness. As explained above, this happens because the detailed listening allows for the edges of the sounds to become transparent; the sounds are recognized to dwell in the unarticulated emptiness that constitutes their very nature. Morton (2007) captures this phenomenon under the aesthetic quality of aperture. Music with the aesthetic quality of 'aperture' is open to its surroundings as if the music was always beginning anew from the ground of emptiness and the ambient sounds surrounding it. The quality of aperture comes about because this "beginning-ness" of sound is explicitly thematized through a detailed listening to the 'materiality' of sound. Morton (2010) likens this to not having a frame around a painting or not being able to distinguish a minimalist sculpture from its surroundings. There is an element of 'uncertainty' as to where the 'art' begins. The contact between the sound and the surrounding environment, as well as between the musician and the instrument, becomes content. As the soft, plucked gǔqín tones fade away, the detailed attention to the subtlety and 'empty materiality' of sound—the 'close listening' to surface phenomena—extends into the surrounding field of noises and dissolves any artificial barrier between 'music' and ambient sounds. Ambient sounds can then continually be presencing with the sounds of the qín, but we do not start to listen to the ambient sounds as if they were part of the composition, nor do they ever become the direct focus of our attention, and neither are they rejected from the musical attunement. The ambient sounds are present as empty forms and perceived as what Dōgen called without-thinking. It is in this way that we can say that the music does not create its own 'virtual world' but has an 'openness' that invites an intimation of emptiness.

It is important to note that this openness to background sounds never happens in music that uses sweeping gestures, such as the Turangalîla. When listening to the Turangalîla, it seems to be part of that music’s adequate mode of listening to 'ignore' ambient sounds. Saito, after attending a symphonic concert, accurately voices this feature of much orchestral music: “The outside traffic noise, the cough of the audience […] are […] consciously ignored, though they are part of our experience contemporaneous with the symphonic sound” (2007, 7). 

There is a famous anecdote where Takemitsu is having dinner with a shakuhachi musician whose performance (at the table) makes Takemitsu more aware of the 'sizzling sukiyaki' and the ambient sounds around him. When Takemitsu recounts this experience after the performance, the musician says that "then it is proof I played well". Takemitsu's comment was not a critique of a boring performance that made Takemitsu's attention wander, but rather high praise. Playing the shakuhachi invites, like the qín, a great focus on the 'materiality' and subtleties of sounds. Timbres range from very muffled, almost pure, muted tones to very bright, noisy, airy sounds. Similarly to the gǔqín, these sounds are in the traditional honkyoku compositionally presented through pointilistic structures. The result is that one listens to these pieces with a very close listening, a close listening that will allow a co-existence with ambient sounds. 

The Buddha taught 84.000 different gates to the dharma because everyone is working with different afflictions. The kind of music that will be helpful for some, will not be helpful for others. Yet, certain kinds of music seem to be more successful in intimating emptiness than other kinds. In the Diamond Sūtra, all phenomena are described to be illusory. All conditioned phenomena are explained to be like dreams, illusions, bubbles, and shadows. The veil-like sweeping gestures of impressionistic music that asks the listener to take a 'psychic distance', and not listen too closely, might even by some be interpreted to embody this teaching; it musically 'conjures up illusions' and by doing so illustrates perhaps that everything is an illusion. It is maybe not impossible to find profound teachings even in the Turangalîla, but compared to the gǔqín music, I would argue that the music of Messiaen does not intimate emptiness as closely. The 'psychic distance' in the Turangalîla actually functions, the way I see it, like a veil that covers up the empty nature of sounds. It is an illusion that hides the illusory nature of phenomena. It is the shì that hides the lǐ. By not allowing ambient sounds to exist within its musical mode of listening, and instead creating an exclusive musical attunement where only the sounds of the orchestral instruments are true, the music reifies this veil as a virtual reality. Its borders are clearly established. With the pointillistic gǔqín music, on the other hand, the sounds are allowed to be heard intimately-superficially. And the same moment as they are heard, their illusory natures are recognized, and at that moment they open up to a non-objectified otherness as they evaporate into emptiness.