Does a Sound have Buddha-Nature? Kegon Thought and the Aesthetics of Sound

In his 2013 book Kiku hito (English translation Homo audiens, 2022), composer and musicologist Jo Kondo (近藤譲) outlines his interpretation of music as the interrelationship between notes, each of which ‘has its own entity and life’ and yet is only meaningful in relationship with other notes, an assertion which echoes 15th-century nō (能) composers Zeami’s (世阿弥) and Zenchiku’s (禅竹) writings on the life and death of each note in a nō performance. Though in his own writing Kondo restricts himself to the tradition of western aesthetics, in a 2023 interview he acknowledges that his system of musical interpretation is rooted in the Kegon (華厳) Buddhist concept of Indra’s Net (which illustrates the idea of ultimate reality as the ‘unimpeded interpenetration of phenomena and phenomena’ jiji muge hokkai 事事無礙法界). In this experimental paper, I will explore the aesthetic implications of this idea: is a listener’s interpretation of the relationships between sounds in a musical work (‘work’ defined as broadly as possible, inclusive of all forms of deep, active listening, from contemporary sound art to nō to Dōgen (道元) hearing a sūtra in the voices of monkeys) merely a metaphor for the ‘unimpeded interpenetration of phenomena and phenomena’, or is it an example of it? What are the implications for the interpretation of all types of music and sound art if sounds – like other nonsentient (hijō 非情) phenomena such as water and mountains – have Buddha-nature (busshō 仏性)? And does this interpretative frame have ethical implications for interpreters – listeners, composers, and performers – of music and sound-art in this age of imminent environmental collapse?.