FUNDED
From Chapter 1 Introduction
vol. 39 2021-06-22 0
This update shares a little bit from "Chapter 1: Introduction" of the music analysis.
...... In "Hyakunin Isshu", each of the "100" poets gives "1" poem, which denotes the corresponding poet as an "element" of the set. However, if those 100 poets are perceived as "parts" instead, with all the possible combinations exhausted, the number of those parts will explode up to 2^100 (2 to the 100th power). The "101" poems in "Hyakunin Shuuka", recently discovered and considered to be the prototype of "Hyakunin Isshu", with political sensitivities suggested such as excluding the poems of the two emperors, Go-Toba-in (the author of 99th poem in “Hyakunin Isshu”) and Juntoku-in (100th), seem to fix such an explosion.
2^100 ≡ 1 (mod 101)
Thus, Fermat's Little Theorem turns the diverging parts (2^100) into a cycle that recurs to "1" as seen in the sequence below, which would be the projection of the hyper-structure onto the original structure.
However, the symmetry of "Hyakunin Isshu", in which the two emperors are located at the beginning and the other two at the end of the book, is possible be preserved by reversing the second half of the above sequence (100 - 51), as shown below. This order, which, so to speak, seems to be in between structure and hyper-structure, has been used for the composition “Comments for Hyakunin Isshu” as if the 100 poems were arranged without being arranged.
What kind of possibilities for transformation did Teika entrust to the "meaning" of "Hyakunin Isshu", which closes with the 100th poem starting with "momoshiki" (a pavement with a hundred stones, which means an imperial palace)"? ......
The "Hyakunin Isshu," crystallized by the repetition/difference of "5 – 7 – 5 – 7 – 7," was firstly solidified as a representation of the passed "Heian" period to decorate the sliding doors. Then, each of the poems was cut into two parts, the 5 – 7 – 5 called the kami-no-ku ("upper phrase") and the 7 – 7 called the shimo-no-ku ("lower phrase") in a uniform manner by the ingression of the karuta, and liquefied. Today, in the overflow of "0"s and "1"s, they are being further cut into pieces, gasifying, about to be consumed globally. According to this phase transition, the subject of enjoyment seems to have shifted/expanded from aristocrats to warriors, from men to women, and from Japanese to others.
Composed in 2012 with the engineering of elaborating Hyakunin Isshu not as a "set" of 100 poems, but as one single “poem” that is undividable, the "Comments for Hyakunin Isshu" might have borne by now even more of the risk of inclusion into such a context than it did when it was composed, throughout the years of exploring the opportunity for performance. The "Karuta Installation Performance" that will precede the performance of the composition in the program might be even more exposed to such a risk. Amid such overwhelming, inclusive contextuality, I feel all the more grateful for this opportunity to offer this de/re-contextualizing piece towards auditory experience yet to come, an event yet to come.
