Sunday, January 5, 2014

Notes on Aida (4)

As I wrote before, Kimura takes up the experience of music ensemble as an example to consider the function of aida, which influences both the subjectivity and the intersubjectivity.

In an ideal case, an ensemble is not guided by the score or conducted by an expert. Each player performs her own part spontaneously, but the sum of the performances forms the harmonious music as a whole. How is it possible?

Each player performs the part, according to her own “noetic” and “noematic” (see the previous note). Moment by moment, she would create a sound (“noetic”), based on the feedback from the already sounded part (“noematic” as retention), as well as the feedforward from the yet to be sounded part (“noematic” as protention). In doing so, she maintains her own subjectivity as a performer.

Such individual contribution of each player is necessary but insufficient to bring a harmony among various performed parts. They start to form “one” music, when they are well interlaced in the tempo, melody, and accent. The performed music gains its own autonomy beyond each player’s spontaneity.

According to Kimura, this autonomy which generates through music ensemble is an paradigmatic example of “aida”. Aida originally appears as the intersubjectivity between persons, but once gained autonomous, it starts to regulate each player’s performance based on its “subjectivity”, as is seen in ensemble.

In contrast to a sole play, in an ensemble a harmonious music takes place of each player’s “noematic”. And the music as a whole becomes auto-productive and starts to indicate what to be sound in the subsequent moment. In other words, the performed music gains the “noetic” of its own which regulates each player’s “noetic”, even though she feels to be performing spontaneously.