Die Arbeit von mir beginnt mit der Analyse eines Manuskripts zum Vortrag "Uber Baustile" vom 4.3.1869 bei Gottfried Semper (1803-79), denn sein erster Entwurf des Anfangs war wesentlich verschieden vom gedruckten Text : es geht um Gedanken durch Goethe und den St. Hilaire-Cuvier-Streit, dass Kunstformen sich aus wenigen Urtypen nach den Gesetzen der Vererbung und Anpassung entwickelt haben. Goethe (1749-1832) hat durch grundliche Betrachtung des Pflanzenwachstums die Gestalt der Pflanze als "Metamorphose" beschrieben. Er weist auf wichtige Gesetze des Organismus hin : "Die ganze Lebenstatigkeit verlangt eine Hulle, die gegen das aussere rohe Element". Einer der Architekten, die im 19. Jahrhundert die Naturanschauung Goethes aufgriffen, war Gottfried Semper. Er behandelte in seinen Vorlesungen "Vergleichende Baulehre" in der Akademie zu Dresden zu allererst das Thema "Hutte" aus 11 Bautypen, mit der Begrundung, dass sich im Wohnhaus das Urbild eines Bauwerkes am deutlichsten zeige. Daraus entstand 1851 das Buch "Vier Elemente der Baukunst". Die vier Urelemente oder "Urtechnik" des Bauens setzt der Mensch im Kampf gegen "vier rohe Elemente" der Natur ein, und das Gewebe war als Ausgangspunkt fur jede bauliche Tatigkeit besonders wichtig. Von diesem Gedankengang leitete sich die Bekleidungstheorie ab, die als umfassende Kunstwissenschaft gilt.

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Shortly after the end of the Second World War during the late 1940's and the 1950s, the term "modan ahto" became an object of debate in the Japanese art community. "Modan ahto" is one of the several renditions of the English word "modern art" in Japanese. Another Japanese term for "modern art" is "kindai bijutsu" or "kindai geijutsu." The term "kindai, " which means modernity in Japanese, also attracted much critical attention during this period. Up to the time, this word tended to signify modernization of Japan after the Meiji Restoration in general and was not commonly used in the field of fine arts as in "modern art" or "modernism." In the postwar period, however, leading art critics tried to apply this term to define modern Japanese art in order to construct a history of modern art and to characterize a body of work that would illustrate this art historical narrative. These critics preferred the term "kindai bijutsu" (or "kindai geijutsu") to "modan ahto" because the Anglicism of the latter term seemed to lack a sense of artistic authenticity and creative autonomy they wished to attribute to modern Japanese art.

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As a rule in the 17th and 18th centuries musicians used to play not only the "written down" note, but extemporaneously added ornaments, arpeggios, and rhapsodic phrases. Because they themselves were composers, they also noted music just roughly, not in great detail. Therefore only in the course of playing, music emerged as it should be. But what exactly did they do in the process of performance? In this paper I will focus on the harpsichord playing, and would like to make clear that "good" playing would be "fantasying" with "discretion". For that purpose I will examine the works with "written out improvisations" by German keyboard player J. J. Froberger (1616-1667) and his contemporary keyboard schools, and analyze how players handle the keyboard in the process of playing. By doing this we can become aware of attempts to make the sound of the instrument more sonorous and find out various ways of devising through "economical" use of fingers by players themselves. But what we must take special notice of here is not only the technical treatments related to fingers and the instrument, but also players' appropriate judgement, which we can call "discretion". And if players, comprehending the style of the works and tailoring each performance suited to each occasion (when and where), have the collective strength of playing with this discretion, that is exactly "fantasying". The term "Fantasy" has been used to indicate player's flashes of genius, but in reality active "fantasying" is "good" playing.

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In his mature years Bela Bartok continuously argued that the influence of peasant music on art music should be realized by grasping its "spirit"-which penetrates the composer's creativity. We usually take this argument simply as a part of his program for modernist music, but the significance of this "spirit" remains hardly convincing. It is unclear why modern musicians should undertake such a demanding task as to make the "spirit" of peasant music their own. We can clarify the importance of this idea solely by considering the historical background of Hungary. The discourse of the "spirit" of peasant music can be related to the nationalistic movement from the first decade of the twentieth century ; especially to the innovatively minded movement led by young intellectuals such as Endre Ady. Under the influence of social radicalism, they began to seek the new cultural identity of Hungary. Precisely according to this new trend Bartok also formulated his strategy, approaching long-forgotten cultures of the peasant class and of other peoples. Because of this political-cultural context it became his ultimate goal to grasp the "spirit" of peasant music, which could justify his artistic endeavor both in the nationalistic context and in the modernist one.

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Olivier Messiaen (1908-1992) declarait que les rythmes observes dans le monde de la nature etaient des ideaux dans sa recherche du rythme musical. Il pensait que la structure du rythme classique, c'est-a-dire le rythme fonde sur la repetition de durees egales, est trop 'carree' pour exprimer la liberte et la souplesse du rythme naturel. C'est pourquoi il essayait de decomposer la structure traditionnelle. C'est par la technique serielle queil l'a detruite completement dans <<mode de valeurs et d'intensites>> (1949). Cependant, il a abandonne cette technique apres cette piece et s'est converti au 'style oiseau'. Il a note des chants d'oiseaux et faconne des oeuvres basees directement dessus. Que signifie sa convertion? Pour expliquer la pensee du rythme de Messiaen, le concept de <<duree>> de Bergson (1859-1941) est efficace. L'un et l'autre remarquaient que le rythme generique devie du temps homogene, et en plus ils avaient des idees tres positives et originales sur les ordres temporels inegaux et imprevisibles qui accompagnent la genese naturelle.

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After John Cage extended the field of musical sounds to include all audible sound in the ealry 1950s, in the early 1960s La Monte Young adopted the strategy of including all sound into the musical world to innovate the traditional Western music and introduced the "inaudible" sound. This paper deals with the condition of how this "inaudible" but "perceptible" sound can be introduced into the musical world by investigating Young's "word pieces" (1960-62). I argue, first, that Young introduces the "inaudible" sound by declaring the audible judgement on sound unnecessary. Secondly, I consider the condition which secures this declaration, by concentrating on the process how Young reconsiders Cagean One Sound and reconstructs his own conception of sound and listening. By showing how the process of the "act of listening" has acquired the creative ability not only to transform sound but also to generate sound from nothing, in conclusion, it becomes clear that, by giving the creative ability to the "act of listening", Young introduced the "inaudible" sound and extended the field of musical sound to include all "conceivable" sound.

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