A CROSS-INDEX禅と20世紀音楽のクロスインデックス
禅と20世紀音楽のクロスインデックス
10 TRACKS · SIDE A / SIDE B · 0′00″ → 4′33″
THE CROSSING交点 — Columbia University — October 1950
鈴木大拙の連続講義。最前列にジョン・ケージが座っていた。
序まえがき
十人の禅者と、十組の20世紀の音楽。およそ千年離れた二つの系譜を、一曲につき一組ずつ引き合わせた十曲の連作。これはそのライナーノーツである。
出会いは空想ではない。1950年、コロンビア大学。鈴木大拙という八十歳の学者が、翻訳できないものを英語で講義していた。最前列にジョン・ケージが座っていた。二年後、ケージは四分三十三秒の沈黙を作曲する。禅と20世紀音楽の交差は、その教室で実際に起きたのだ。この連作は、その一点から過去と未来へ引き直した十本の補助線である。
先に知識はいらない。まず音として聴いてほしい。叫びで始まり、囁きを通り、沈黙で終わる——全体でひとつの長い呼吸になるように並べてある。それぞれの組み合わせの種明かしは、各曲の畳まれたノートに書いた。読むのは、聴いたあとでいい。
INDEX曲目
| NO | 命令 | TITLE | 禅 | 音 |
|---|---|---|---|---|
| 01 | 殺せ | ANĀTMAN / KILL YOUR BUDDHA | 臨済義玄（唐・?–866） | Marilyn Manson（『Antichrist Superstar』1996） |
| 02 | 抱け | ONE REST / 一休 | 一休宗純（室町・1394–1481） | Leonard Cohen（『You Want It Darker』2016） |
| 03 | 起きろ | NIŌ-ZEN / WAKE THE FIRE | 鈴木正三（江戸・1579–1655） | Rage Against the Machine（1992） |
| 04 | 何もするな | PLEASE DON'T BECOME ANYTHING | 盤珪永琢（江戸・1622–1693） | Daniel Johnston（宅録カセット期・1983） |
| 05 | 而今 | FARMER WITH EMPTY HANDS (Remembering Rujing) | 道元（鎌倉・1200–1253） | Scott Walker（『Tilt』–『The Drift』期） |
| 06 | 叩け・描け | THE SOUND OF ONE HAND (Hakuin's Bone Song) | 白隠慧鶴（江戸・1686–1769） | Tom Waits（『Bone Machine』1992） |
| 07 | 置け | PLACING STONES (天龍寺、1339) | 夢窓疎石（南北朝・1275–1351） | 坂本龍一（『async』2017） |
| 08 | 手放せ | THE BALL ON THE SLEEVE (Ryōkan in Echigo, the last winter) | 良寛（江戸・1758–1831） | Sufjan Stevens（『Carrie & Lowell』2015） |
| 09 | 入定せよ | BLACKSTAR ON THE MOUNTAIN (Kūkai, Mount Kōya, year 835) | 空海（平安・774–835） | David Bowie（『Blackstar』2016） |
| 10 | 黙れ | LECTURE ON ZEN (Columbia University, October 1950) | 鈴木大拙（近代・1870–1966） | John Cage（『4′33″』1952） |
TRACK 01SIDE A
殺せ。
臨済義玄（唐・?–866） × Marilyn Manson（『Antichrist Superstar』1996）
[Intro — 低く荘厳なマントラ詠唱、徐々に歪んでいく]
Oṃ. Buddhaṃ śaraṇaṃ gacchāmi.
Oṃ. Dharmaṃ śaraṇaṃ gacchāmi.
Oṃ. Saṅghaṃ śaraṇaṃ gacchāmi.
(distortion enters)
Oṃ... oṃ... oṃ...
(whisper)
...there is no one taking refuge...
[Verse 1]
I crawled out of your folded hands
A Buddha carved from your own fear
You begged me for nirvāṇa
So I sharpened my teeth and stole a halo
Kneel down, little worms
Eat the māyā you love to chew
I am the sutra you deserve
The poison in the incense smoke
[Pre-Chorus]
Open your mouth
Swallow the relic
I am the relic
I am the smoke
[Chorus]
KILL YOUR BUDDHA
KILL YOUR BUDDHA
The altar you carved — BURN IT DOWN
The face you worshipped — SMASH IT DOWN
Anātman, anātman
KILL YOUR BUDDHA
The father, the master, the patriarch, the king
KILL THEM ALL — AND KILL ME TOO
(I never asked to be your god)
[Verse 2]
I am the temple you bled to build
The dharma you can't unread
The voice inside the sacred noise
That whispered who to be
Look at me — I am beautiful
Look at me — I am Buddha
Look at me — śūnyatā
And so are you, my love
(that's the secret)
[Pre-Chorus]
Light the candle
Light the monk
Light the patriarch
Light yourself
[Chorus]
KILL YOUR BUDDHA
KILL YOUR BUDDHA
The altar you carved — BURN IT DOWN
The face you worshipped — SMASH IT DOWN
Anātman, anātman
KILL YOUR BUDDHA
The father, the master, the patriarch, the king
KILL THEM ALL — AND KILL ME TOO
[Bridge — 説教師の壊れた声で]
"They came begging for dharma
I sold them a mirror
They came begging for a god
I pressed a knife into their hand
And I whispered:
sarvaṃ duḥkham
sarvaṃ anātmam
go on
do it
do it to me first
do it to yourself last
that's the only mantra I have left"
[Breakdown — 囁き、エコー]
No one in the main hall
No one on the lotus throne
No one in your chanting
No one in your bones
śūnyatā... śūnyatā... śūnyatā...
(scream)
NO ONE EVER WAS
[Final Chorus — 倍に膨らむ]
KILL YOUR BUDDHA
KILL YOUR BUDDHA
KILL THE FATHER
KILL THE MASTER
KILL THE PATRIARCH
KILL THE KING
KILL THE LOVER
KILL THE STRANGER
KILL THE ĀTMAN IN THE MIRROR
KILL THE ONE WHO IS SINGING
[Outro — マントラの倒錯、ゆっくり消える]
Oṃ anātman.
Oṃ śūnyatā.
Oṃ anātman.
Oṃ śūnyatā.
(I'll betray you, so you can be free)
Oṃ... oṃ... oṃ...
......
(silence)
KATSU.
臨済義玄（?–866）は唐の禅僧で、臨済宗の開祖。その語録『臨済録』には、禅の歴史でもっとも過激な一句がある——「仏に逢うては仏を殺せ、祖に逢うては祖を殺せ」。崇拝の対象を外に立てた瞬間、人は自分の足で立つことをやめる。だから師も仏も、権威として現れたものは全部斬れ、という教えである。信仰の否定ではなく、依存の切断。
Marilyn Manson の『Antichrist Superstar』（1996）は、偶像破壊者が自ら偶像となり、最後に自分ごと破壊されるまでを描いたロック・オペラだった。崇拝を集めながら「私を壊せ」と歌うスターは、崇拝という構造そのものを舞台の上で燃やしてみせる。この曲で説教師が売るのは鏡であり、渡すのはナイフであり、最後の命令は「歌っている当人を殺せ」。臨済の喝は、ここではディストーションの向こうから聞こえてくる。
TRACK 02SIDE A
抱け。
一休宗純（室町・1394–1481） × Leonard Cohen（『You Want It Darker』2016）
[Verse 1 — low baritone, spoken-sung, sparse piano]
She came to my hut in the snow
A blind woman with a borrowed lute
I am eighty and I am still hungry
I am eighty and the bowl is still empty
Her fingers found me in the dark
The way the dharma finds the worm
And I forgot every sutra I ever read
And remembered nothing but her name
Mori. Mori.
Forest of my last days.
[Pre-Refrain]
They called for the patriarch
They wanted the master of the temple
But the master was on her mat
The master was in her mouth
The master was nowhere
Was nothing
Was hers
[Refrain]
Koko ni. Koko ni.
Here I am, my Buddha
Koko ni. Koko ni.
Here I am, my whore
Take this old body
Take this borrowed flame
You wanted it darker
And I lit one candle in the rain
[Verse 2]
I carried a skull through the New Year
I held it up to the laughing crowd
The pine at every gate
Is a milestone to the grave
Medetaku mo ari — congratulations
Medetaku mo nashi — and no congratulations
The bell is ringing for somebody's son
The bell is ringing for me
I am the crazy cloud
I have no sky to belong to
Fūkyō. Fūkyō.
Wind-madness. Wind-madness.
[Pre-Refrain]
They asked me for transmission
I gave them a torn letter
They asked me for the seal of awakening
I gave them my old shoes
What I knew, I learned in her hair
What I kept, I gave to the dogs
[Refrain]
Koko ni. Koko ni.
Here I am, my Buddha
Koko ni. Koko ni.
Here I am, my whore
Take this old body
Take this borrowed flame
You wanted it darker
And I lit one candle in the rain
[Bridge — whispered, choir hums beneath]
Magnified, the brothel.
Sanctified, the wine cup.
Magnified, her sex.
Sanctified, her blindness.
The bodhisattva does not come down from a cloud —
The bodhisattva comes down from a woman's body.
I have eaten the fish.
I have drunk the wine.
I have entered the woman.
And the precepts —
the precepts were never anywhere
but in the mouth of a coward.
[Verse 3 — violin enters, melancholy]
A red brazier in the snow
One snowflake falling in
That is what she was to me
That is what I am to the ground
The flake does not melt because of the fire
The fire is not extinguished by the flake
They become each other
Kōro jōten itten no yuki — the red furnace, one flake of snow
I am one rest.
I am one breath between two empties.
Ikkyū — ichi-kyū — one pause.
That is my name.
That is my whole teaching.
Rest now.
[Final Refrain — slower, softer]
Koko ni. Koko ni.
Here I am, my Buddha
Koko ni. Koko ni.
Here I am, my Mori
The candle is going out
The candle was never lit
You wanted it darker
And the dark was always you
[Coda — choir fading]
Koko ni...
Koko ni...
Koko ni...
......
(silence)
一休。
one rest.
一休宗純（1394–1481）は、酒を飲み、魚を食い、盲目の旅芸人・森女を七十代で愛した破戒の禅僧。正月には髑髏を杖に掲げて京の町を「ご用心、ご用心」と練り歩き、「門松は冥土の旅の一里塚 めでたくもあり めでたくもなし」と詠んだ。権威化した禅門を生涯罵倒し続け、印可状を破り捨てた。彼にとって女の身体と仏道は別の場所にない——詩集『狂雲集』は、その二つを同じ筆で書いている。自らを風狂と呼んだ。
Leonard Cohen の遺作『You Want It Darker』（2016）は、死を目前にした男が神と女を同じ言葉で呼ぶアルバムだった。表題曲でコーエンが繰り返す「Hineni」——神への応答を意味するヘブライ語「我ここに」——を、この曲では「Koko ni.」が引き受ける。ちなみにコーエン自身、臨済宗の僧堂で得度した禅僧でもある（法名・自閑）。五百年を挟んだ二人の老人は、おそらく同じ火鉢で酒を温められる。曲名の通り、一休とは「ひとやすみ」——二つの空白のあいだの、一拍の休符のことである。
TRACK 03SIDE A
起きろ。
鈴木正三（江戸・1579–1655） × Rage Against the Machine（1992）
[Intro — Tom Morello-style sirens, distorted scratching, percussive build]
A! — UN!
A! — UN!
A! — UN!
A! — UN!
WAKE UP
[Verse 1 — rapid spit, percussive]
You crawl to the factory and you call it your life
You crawl to the office and you call it your life
You crawl to the field and you bow to the boss
You crawl to the till and you sell yourself off
Some of you build the bombs, some of you load the trucks
Some of you cut the meat, some of you guard the gates
And every one of you is a goddamn buddha
And every one of you forgot
WAKE UP
[Pre-Chorus — building]
Your hammer is a sutra
Your shovel is a sutra
Your keyboard is a sutra
Your gun is a sutra too — read it
Read it
READ IT
READ IT NOW
[Chorus — explosive]
NIŌ! NIŌ!
Open your goddamn eyes
NIŌ! NIŌ!
Burn the soft buddha down
The temple is the workshop
The workshop is the war
Shigoto wa gyō — the work is the path
The work was always the path
NIŌ! NIŌ!
WAKE THE FIRE
NIŌ! NIŌ!
WAKE THE FIRE
[Verse 2]
A samurai practices death every morning
He looks at the sword and he sees his own throat
That is the only meditation
That is the only zazen worth a fuck
You — you scroll your phone and you call that being alive
You — you swallow the news and you call that being awake
Shi-narai — die now
Shi-narai — die now
Die at your desk, die at your bench
Die in the boss's eye, die in the timecard
And when you die — open the OTHER eye
The eye of the guardian
The eye that does not blink
The eye that does not beg
[Pre-Chorus]
Your breath is a sutra
Your sweat is a sutra
Your rage is a sutra
Your silence is the lie — break it
Break it
BREAK IT
BREAK IT NOW
[Chorus]
NIŌ! NIŌ!
Open your goddamn eyes
NIŌ! NIŌ!
Burn the soft buddha down
The factory is the temple
The office is the war
Shokubun bukkō — your work IS the buddha-work
Your work was always the buddha-work
NIŌ! NIŌ!
WAKE THE FIRE
NIŌ! NIŌ!
WAKE THE FIRE
[Bridge — call and response, live-show chant]
WHO BUILT THE PRISON?
— WE DID
WHO PUNCHES THE CLOCK?
— WE DO
WHO CAN BURN IT DOWN?
— WE CAN
WHO IS THE NIŌ?
— I AM
WHO IS THE BUDDHA?
— I AM
WHO IS THE ENEMY?
— I AM
FUCK
WHO IS THE ENEMY?
— I AM
FUCK
WHO IS THE WEAPON?
— I AM
FUCK
WHO IS THE TEMPLE?
— I AM
[Breakdown — guitar siren, low growl]
Don't wait for the bell
Don't wait for the master
Don't wait for the wage
Don't wait for the weekend
Don't wait for the revolution
The revolution is the breath you just took
The revolution is the hammer in your hand
A.
UN.
A.
UN.
BREATHE LIKE A WEAPON
[Final Chorus — escalating, no return]
NIŌ! NIŌ!
Open your goddamn eyes
NIŌ! NIŌ!
Burn the soft buddha down
NIŌ! NIŌ!
The work IS the war
NIŌ! NIŌ!
The wage IS the chain
NIŌ! NIŌ!
The hand IS the dharma
NIŌ! NIŌ!
WAKE
THE
FIRE
[Outro — Killing in the Name-style escalating refusal]
I won't bow to the soft buddha
I won't bow to the soft buddha
I won't bow to the soft buddha
I won't bow to the soft buddha!
I WON'T BOW TO THE SOFT BUDDHA!
I WON'T BOW TO THE SOFT BUDDHA!
I WON'T BOW TO THE SOFT BUDDHA!
I WON'T BOW!
I WON'T BOW!
I WON'T BOW!
WAKE UP
阿吽。
a — un.
the breath that begins, the breath that ends.
both of them are yours.
KATSU!
鈴木正三（1579–1655）は関ヶ原と大坂の陣を戦った元武士の禅僧。柔和な如来像ではなく、寺門の仁王像の憤怒の気迫で坐れと説いた（仁王禅）。さらに彼は、あなたの職業がそのまま仏道修行であると説いた（職分仏行説）——農民には鍬を、職人には鑿を、商人には算盤を、そのまま経典として渡した男である。武士だった彼にとって修行とは、毎朝おのれの死を稽古することだった。
Rage Against the Machine は労働と怒りの音楽だ。ただし彼らの「Wake up!」が体制に向けた怒りなら、正三の「起きろ」は労働する当人の内側で眠っている仏に向けた怒声である。この曲はその二つを重ね、ハンマーもキーボードも銃も経典だと吐き捨てる。イントロの「A! — UN!」は仁王像の阿形と吽形——開いた口と結んだ口、始まりの息と終わりの息。叫びと囁きを交互に繰り返すこの連作前半の呼吸法が、ここで宣言されている。
TRACK 04SIDE A
何もするな。
盤珪永琢（江戸・1622–1693） × Daniel Johnston（宅録カセット期・1983）
[Verse 1 — cheap cassette recording, voice slightly cracking, three simple chords on a beat-up acoustic]
You don't have to be a Buddha
You don't have to be a Buddha
You don't have to be a Buddha
Please don't become anything
The crow is cawing outside
The crow is cawing outside
You can hear it
You didn't have to learn how
[Verse 2]
Your mom didn't give birth to a Buddha
Your mom didn't give birth to a sinner
Your mom gave birth to the Unborn
And the Unborn is okay
The Unborn is okay
The Unborn is okay
You don't have to fix it
It was never broken
[Bridge — even quieter, almost whispered]
When somebody is mean to you
And you don't get mean back
That's it
That's the whole thing
When you smell the rain coming
And you don't try to think about it
That's it
That's the whole thing
You already have it
You already have it
You had it when you were a baby
You forgot about it
And you still have it
You have it right now
You have it right now
[Verse 3]
I'm not a teacher
I'm not a master
I'm just a guy
Talking to you on a tape
When the tape ends
The Unborn is still here
When I die
The Unborn is still here
When you die
The Unborn is still here
Some things were never born
And some things never die
Some things were never born
And some things never die
[Outro — slowing down, voice almost falling apart]
Please don't become anything
Please don't become anything
Please don't become anything
You're already what you are
You're already what you are
(the crow caws)
(the tape hisses)
That's enough.
That's enough.
盤珪永琢（1622–1693）は、漢文の公案も専門用語も使わず、農民や町人や女性に向かって、日常の話し言葉だけで説いた江戸の禅僧。教えはただひとつ——人はみな「不生の仏心」のままで生まれついており、何かに成ろうと努力した瞬間に、かえってそれを取り逃がす。カラスの声はカラスの声と聞こえる。聞こうと努力する前に、もう聞こえている。それが不生の証拠だと彼は言った。仏に成ろうとするな、あなたはすでにそれだ。
Daniel Johnston は、壊れかけのカセットレコーダーに宅録した歌を、勤め先のマクドナルドで手渡しに配ったアウトサイダー・ミュージシャン。音程は揺れ、テープはノイズだらけで、しかしその声には加工も演技もひとつもない。上手くなろうとしないことがそのまま歌の核心である音楽——盤珪の説法をカセットに録ったら、たぶんこうなる。ヒスノイズごと、不生。テープが終わっても、不生の仏心はまだここにある。
TRACK 05SIDE A
而今。
道元（鎌倉・1200–1253） × Scott Walker（『Tilt』–『The Drift』期）
[long slow opening — sawing strings on an unstable bass note. The voice begins as speech, not song.]
而今 nikon nikon
而今 nikon nikon
The pine is time
The bamboo is time
Old man Rujing struck the floor with his stick — that was time
[Verse 1]
This night you are mistaken
I am a farmer without a field
Eyes horizontal nose vertical
I came back from China with empty hands
The waves on the Sea of Japan
were the same waves as a thousand years ago
— no
the waves were not the same
the waves were time itself
were time itself
[Refrain]
而今 nikon nikon
而今 nikon nikon
[Verse 2]
Hey Rujing
remember the cook at Tiantong
he was drying mushrooms in the noon sun
I asked him
why don't you let the young monks do it
he said
other persons are not me
I asked him
why now
why not later when it's cooler
he said
later is not now
That was the day the mountains began to walk
The east mountain walks on the water
[long pause — strings only, breathing]
[Verse 3]
Firewood does not become ash
Firewood abides in the position of firewood
Ash abides in the position of ash
Spring does not become summer
Spring is spring
even in summer's mouth
[the voice strangulates — strings heave upward in a slow crescendo]
I used to be a young man
I knew nothing of the bell
nothing of the stick
nothing of the old cook
drying mushrooms
[Refrain]
而今 nikon nikon
而今 nikon nikon
[Verse 4]
Rujing
take me with you
it was the journey of a life
I climbed Mount Tendō in 1223
I climbed Mount Tendō in 1225
It was the same climbing
It was not the same climbing
The mountain walked beside me
[Verse 5]
Body and mind fell from me
Body and mind fell from me in the meditation hall
Did I sit
or did the sitting sit me
Did the eye see the mountain
or did the mountain see itself
— the gull does not know where the sky ends
— the carp does not know where the water ends
— and yet they fly
and they swim
[a long silence]
[Final Refrain — quieter, breath barely sustaining the tone]
而今 nikon nikon
而今 nikon nikon
This moment is not a stop on a road
This moment is the whole road
folded up into a single breath
Eyes horizontal
nose vertical
hands empty
[Outro — the beacon returns, then breaks]
而今 nikon nikon
而今 ni —
(strings cut off mid-phrase)
(silence)
(a single bell)
道元（1200–1253）は曹洞宗の開祖。宋に渡って天童山の如浄のもとで「身心脱落」——身も心も脱け落ちる——を得て、「空手還郷」、手ぶらで日本に帰った。主著『正法眼蔵』のなかでも「有時」の巻は時間論の極北で、「薪は灰にならない。薪は薪の位にあり、灰は灰の位にある」——時間は流れる川ではなく、この一瞬（而今）がそのまま存在の全体であると説く。「眼横鼻直」、目は横に、鼻は縦に。帰国後の第一声はそれだけだった。
Scott Walker の後期作（『Tilt』1995、『The Drift』2006）は、ポップスの拍節を捨て、不穏な弦のブロックと沈黙のあいだにバリトンが屹立する音楽だった。時間そのものを素材として彫刻する作曲家に、時間の哲学者を歌わせる——曲は、死んだ師・如浄への呼びかけとして書かれている。そして十曲のちょうど中央、九つの命令形に囲まれて、ここだけが命令ではない。「而今」——ただ、今。連作はこの一語を蝶番にして、前半の叫びから後半の沈黙へと折り返す。
TRACK 06SIDE B
叩け・描け。
白隠慧鶴（江戸・1686–1769） × Tom Waits（『Bone Machine』1992）
[long intro — a single bone hitting another bone, slow, irregular. A broken accordion wheezes underneath. An old woman's voice, almost spoken:]
He came back from the mountain
with his eyes on backwards
He came back from the mountain
weighing nothing
He came back from the mountain
hearing things that wasn't there
hearing things that wasn't there
[verse 1 — old woman's voice, half-amused half-afraid]
We watched him through the rice paper
We watched him through the rice paper
That young monk
shaking like a wet dog
in the corner of the temple
He saw devils in the broth
He heard bells in his belly
He felt fire crawling up his spine
like a centipede looking for the moon
We said
that boy's going to die
We said
that boy's going to die before the cherry trees
And he didn't
And he didn't
He came back from the mountain
with his eyes on backwards
but he came back
[refrain — sudden bone-drum, Waits roar]
CLAP YOUR HAND
JUST ONE HAND
CLAP YOUR HAND
JUST ONE HAND
WHAT DO YOU HEAR
WHAT DO YOU HEAR
WHAT DO YOU HEAR
WHEN THE OTHER ONE
IS GONE
[verse 2 — Hakuin's voice enters, raspy, like Waits in Bone Machine]
I went up to the old man in the cave
The one they said was three hundred years old
The one with no teeth
The one with no name
The one who drank pine needle tea
He said:
boy, you got the fire sickness
boy, your kidneys are screaming
boy, your liver is a black bird
boy, you been trying to wake up too hard
He said:
close your eyes
put a ball of soft butter on the top of your head
let it melt down
let it melt down
let it melt slow
Let it melt down through your skull
Let it melt down through your throat
Let it melt down through your guts
Let it melt down through your feet
Let it pool in the cool dark earth
That's a medicine
That's a medicine they don't sell in the city
[bridge — slow, almost a lullaby, harmonium and brush on drum]
Soft butter
on the crown of the head
soft butter
melting down
The fire was eating me
The fire was eating me
Now the butter is eating the fire
Now the butter is eating the fire
I am the bowl
I am the bowl
I am the bowl
that is being filled
from the inside
[long pause — a single cricket]
[verse 3 — village reportage returns, the old woman]
He started painting after that
He started painting like a man possessed
On any scrap of paper
On the back of letters
On the inside of grain sacks
On the doors of our outhouses
he drew a Daruma
he drew a Daruma with no legs
he drew a Daruma with eyes like a thunderclap
he drew a fat monk wrestling a rat
he drew a frog and wrote
if zazen made you a Buddha
the frog would be a Buddha by now
He gave the paintings away
He gave the paintings to the rice farmer
He gave the paintings to the woman who sold pickled plums
He gave one to the prostitute at the inn
He gave one to the magistrate who came to scold him
He gave one to me
He gave one to me
And I sold it for a bag of millet
And I am sorry
And I am sorry
And I am not sorry
[verse 4 — Hakuin again, but the voice is older now]
Listen
listen
the rich abbots want me in Kyoto
the rich abbots want me in Edo
the rich abbots want a robe on my back
that costs more than this village eats in a year
I said no
I said no
I said no
I have a leaking roof
I have a cracked bowl
I have eighty students sleeping on the floor
I have a frog
I have a rat
I have one hand
I have one hand
and I am clapping it
right now
right now
right now
[refrain — louder, more broken]
CLAP YOUR HAND
JUST ONE HAND
CLAP YOUR HAND
JUST ONE HAND
WHAT DO YOU HEAR
WHAT DO YOU HEAR
WHAT DO YOU HEAR
The old woman said
I hear my dead husband
The farmer said
I hear the rice growing
The prostitute said
I hear nothing and it is beautiful
The magistrate said
I hear my own heartbeat
and I am afraid
The frog said nothing
The frog said nothing
The frog said nothing
because the frog already knew
[verse 5 — the song slows, the bone drum becomes a single tap]
I am eighty three years old
My calligraphy hand is shaking
My back is a question mark
My eyes are two cracked plates
But
I am clapping
I am clapping
the one hand
the one hand
the one hand
Can you hear it
Can you hear it
Can you hear it
It sounds like
butter melting
It sounds like
a frog laughing
It sounds like
nothing
It sounds like
your own
goddamn
breath
[outro — bone tap, slow, fading]
Soft butter
melting down
Soft butter
melting down
One hand
one hand
one hand
[a single cracked bell — not clean like a temple bell, more like a tin can struck with a stick]
[the bone taps once more]
[silence]
白隠慧鶴（1686–1769）は臨済宗中興の祖。「隻手音声——両手を打てば音がする。では、片手の声とは何か」という公案の作者である。若き日、修行のしすぎで心身が壊れた（禅病）。山中に隠れ住む仙人・白幽子を訪ね、「軟酥の法」——頭の上に置いた柔らかいバターの塊が溶けて、全身へゆっくり染み下りていくのを観想する治療法——を授かって回復した。その後は生涯を駿河の田舎の貧乏寺で過ごし、達磨や蛙や布袋のとぼけた絵を無数に描いては、農民にも遊女にも役人にも、誰にでも配った。
Tom Waits の『Bone Machine』（1992）は、骨とガラクタを叩いて作られたアルバムで、彼の歌はいつも場末の語り部の声で進む。村の老婆の目撃談として白隠の生涯を語り直すこの曲は、ワイツの流儀そのもの——聖者伝を、ジャンクの打楽器で。壊れて、治って、描いて、配って、片手を打ち続けた男の話である。連作はレコードを裏返し、ここから沈黙に向かって静かになっていく。
TRACK 07SIDE B
置け。
夢窓疎石（南北朝・1275–1351） × 坂本龍一（『async』2017）
[opening: 90 seconds of silence broken only by distant rain. Then a single piano note. Then another, 11 seconds later. Then a long held cello tone, low.]
[a voice, almost spoken, very close to the microphone, in three languages overlapping faintly:]
石を置く
ishi wo oku
placing a stone
[verse 1 — single piano notes between phrases, each phrase followed by 4–6 seconds of room tone]
The Emperor died last month
I was told the news while
I was looking at a stone
I kept looking at the stone
The stone did not know
the Emperor had died
The stone did not know
there was an Emperor
The stone did not know
it was a stone
[long pause — rain, a single piano note]
[verse 2]
Takauji came to see me
He has killed
many people
His hands shook
when he held the tea bowl
I said
let us build a temple
for the dead Emperor
who hated you
who you fought against
who would not forgive you
He wept
I did not say it to comfort him
I said it because
the stones were waiting
The stones had been waiting
since before the war
since before the Emperor
since before the country had a name
The stones do not care
who builds the temple
The stones only ask
to be placed correctly
[a low cello drone enters, sustains. Pause.]
[verse 3 — the voice becomes quieter, almost a whisper]
A garden is not made
A garden is found
I walk the slope
behind the burned hall
I see where the water
wants to fall
I see where the moss
wants to rest
I see where the visitor
will stop
without knowing why
That is where I place
the stone
The stone was already there
in the mind of the slope
I only made it visible
[piano note. silence. piano note. silence. silence. piano note.]
[verse 4]
People ask me
Master, you served the Emperor
Master, you serve the Shogun who killed him
how can you serve both
I say
I serve the slope
I serve the water
I serve the stone
The Emperor and the Shogun
are two clouds
passing over
the same pond
The pond does not choose
which cloud to reflect
The pond reflects
whatever is there
[the cello drone shifts a quarter-tone. Almost imperceptible.]
[verse 5 — the voice is now an old man's, breath audible]
I am sixty four years old
My hands are stiff
in the morning
I cannot lift
the larger stones
anymore
I point
and the young monks lift
I point with my finger
the way a master
points at the moon
The young monks
look at my finger
I say
no
look at the slope
They look at the slope
I say
no
look at the place
where the stone
is not yet
They look
They begin to see
the empty place
That is the garden
The garden is the empty place
before the stone
[the longest pause yet — 30 seconds, only rain and one cello tone shifting]
[verse 6 — multilingual fragments, faint, layered, like fullmoon]
(whispered, overlapping)
ishi wo oku
placing a stone
placer une pierre
einen Stein setzen
поставить камень
shih
石
石
石
placing
placing
placing
[the layers thin until only one voice remains]
[verse 7]
When I die
the garden will continue
The moss will grow over the stones
I chose
The water will find paths
I did not plan for
A typhoon will come
in three hundred years
and move one of the stones
six inches to the west
The garden will be better
after the typhoon
The garden does not need me
The garden never needed me
I only borrowed
the place
where I stood
[verse 8 — the voice barely there]
A stone
a stone in the slope
I am
a stone
in the slope
[piano note]
[silence — 20 seconds]
[a single drop of water falling into a stone basin — recorded, real, not synthesized]
[silence — 40 seconds]
[the cello fades to nothing]
[the rain continues, alone, for another minute]
[then the rain stops]
[silence]
夢窓疎石（1275–1351）は南北朝動乱期の禅僧で、日本庭園史上最大の作庭家。後醍醐天皇に招かれて国師号を受け、天皇の死後は、その敵であった足利尊氏にも招かれた。そして尊氏に進言し、敵として死んだ後醍醐天皇を弔うための寺——天龍寺——を建てさせ、その庭に石を置いた。内戦の真ん中で、殺し合う両側に同じ静けさを差し出した人である。庭は作るものではなく見出すもの。石はすでに斜面の中にあり、彼はそれを見えるようにしただけだと言う。
坂本龍一の最後期（『async』2017、『12』2023）は、雨の録音のなかに単音を「置く」音楽だった。病を得てから彼は、音を鳴らすことよりも、音と音のあいだを聴くことを選んだように見える。石を置くことと、音を置くこと。ひとつ置いては、雨の音を長く聴く。この曲の隙間だらけの構造は、夢窓の作庭法をそのまま作曲法に写したものである。
TRACK 08SIDE B
手放せ。
良寛（江戸・1758–1831） × Sufjan Stevens（『Carrie & Lowell』2015）
[opening: fingerpicked nylon-string guitar, a single arpeggio, very close to the microphone. Snow can be heard, faintly, against a paper window. Double-tracked vocal, half-whispered.]
[verse 1]
Mother in the candlelight
I forgot your face when I was nine
I forgot your face when I was nine
And I don't know where to begin
You died in the salt town
You died in the salt town by the sea
And I was not allowed to come home
And I was not allowed to come home
The wind in the pines on Mount Kugami
sounds like you breathing
sounds like you breathing
when I was a child
when I was a child
[verse 2]
Father gave me to the temple
be useful, be quiet, be small
Father gave me to the temple
be useful, be quiet, be small
I walked to Okayama at twenty
to study with Kokusen
I sat for twelve years
I sat for twelve years
He gave me a piece of paper that said
Ryōkan
the great fool
the great fool
and I cried because it was the kindest thing
anyone had ever called me
[refrain — multi-tracked harmony, lullaby-cradle melody]
I went home with empty hands
I went home with empty hands
the temple did not want me
the temple did not want me
I built a little hut
on the side of the mountain
and the children came
and the children came
and the children came
[verse 3 — the guitar opens slightly, a second guitar enters]
There was a boy with a rash on his cheek
There was a girl missing two front teeth
There was a boy whose mother sold pickled radish
There was a girl whose father drank
They brought me a ball
they brought me a ball made of paper string
Ryōkan-san, will you play
Ryōkan-san, will you play
I have written ten thousand poems
I have copied the Manyōshū by candlelight
I have read the Dharma
I have starved through three winters
But
the ball
the ball on the sleeve
the ball on the sleeve
the ball on the sleeve
I bounced it
I bounced it
once two three four five six seven
I bounced it eight hundred times
because the girl said
don't stop
don't stop
don't stop
[verse 4 — quieter, the children fade]
The children went home for dinner
The children went home for dinner
The snow began to fall
The snow began to fall
And I sat in my hut
with the ball still in my sleeve
and I cried
and I cried
not because I was sad
not because I was sad
but because
I had been the Buddha
for an hour
without knowing it
without knowing it
[verse 5 — direct address, the tone of Fourth of July]
Mother, I can hear you in the wind
Mother, I can hear you in the wind
Eizō, my little boy
Eizō, why did you become a monk
Eizō, why did you give away your robe again
Eizō, why are you so thin
Mother
I gave the robe to the man in the road
I gave the rice to the bird in the cage
I gave the poems to the wind
I have nothing left
I have nothing left
and it is enough
and it is enough
Eizō, did you get enough love, my little crane
Eizō, did you get enough love
[refrain]
I went home with empty hands
I went home with empty hands
the temple did not want me
the temple did not want me
I built a little hut
on the side of the mountain
and the children came
and the children came
[verse 6 — the late encounter with Teishin]
Then one winter
when I was sixty eight
a young nun came up the mountain
with snow in her hair
Her name was Teishin
She was thirty
She had read my poems
She had walked four days
She said
master, I have come to die at your feet
I said
you are too young to die
and I am too old to be a master
let us read poems instead
She wrote
was it a dream
was it a dream that we met
I wrote
let us dream the dream
let us dream the dream forever
We knew we would die soon
We knew we would die soon
and so each tea bowl
was the only tea bowl
and so each poem
was the only poem
and so each evening
was the only evening
of the world
[verse 7 — Ryōkan dying, age 74]
Teishin held my hand at the end
Teishin held my hand at the end
I was seventy four
my back was a question mark
my eyes were two cracked plates
I wrote one last poem
on a piece of paper
falling cherry blossoms
remaining cherry blossoms
are also falling cherry blossoms
She put it in her sleeve
She put it in her sleeve
the way I had once put a ball
in my sleeve
in my sleeve
in my sleeve
[verse 8 — the wall of sound enters, Death with Dignity-style, soft swell of strings and second guitar and high choir hum]
Did you get enough love, my little crane
Did you get enough love
Mother in the candlelight
Mother in the salt town by the sea
The children at my door
The children with the paper ball
Teishin in the snow
Teishin with the poem in her sleeve
Every road leads to an end
Every road leads to an end
the falling are falling
the remaining are falling
the falling are falling
[outro — instruments fall away one by one, leaving only the fingerpicked guitar, then the breath, then a final line]
I went home with empty hands
empty hands
empty
[snow against the paper window]
[silence]
良寛（1758–1831）は越後の山中の五合庵に住み、托鉢で暮らし、村の子供たちと手毬をついて遊んだ僧。書と詩の名手でありながら寺を持たず、位も持たず、蔵の米も持たなかった。師・国仙から与えられた号は「大愚」——大きな愚か者。六十八歳のとき、彼の詩を慕う三十歳の尼僧・貞心尼が雪の山道を訪ねてくる。二人は死が近いことを知りながら歌を交わし続けた。辞世と伝わる句——「散る桜 残る桜も 散る桜」。
Sufjan Stevens の『Carrie & Lowell』（2015）は、幼い自分を置いて去った母の死を悼むアルバムで、囁くような多重録音の声が、喪失を子守唄のかたちで歌う。「Did you get enough love, my little dove」という一節は、この曲では鶴に変わって良寛自身に向けられる。なお「背中は疑問符、目は二枚の割れた皿」という老いの対句は、二曲前の白隠とまったく同じもの——この連作のなかで、老人たちは同じ体を順番に生きている。
TRACK 09SIDE B
入定せよ。
空海（平安・774–835） × David Bowie（『Blackstar』2016）
[Part I — Ritual / 真言]
[opening: low male choir humming a sustained drone. A sax (alto, breathy) enters, plays a fragmentary phrase, falls silent. A taiko drum, single beat, then silence for 8 seconds.]
[a voice — half-spoken, half-sung, in the Bowie Lazarus register, breathy and high:]
I am not dying
I am not dying
I am sitting down
in the diamond
in the diamond
[Verse 1]
Look up here
I'm at the peak of the mountain
Look up here
the diamond is in my mouth
I have eaten the alphabet
I have eaten the fifty letters
A — Ā — I — Ī — U — Ū — E — AI — O — AU — AṂ — AḤ
they are all sleeping
on my tongue
I am not a man
I am not a Buddha
I am the sound
between two sounds
I am the throat
that swallows the bell
and gives back the silence
[the choir splits into two pitches a tritone apart. Sax wails.]
[Verse 2]
The Emperor sent me to China
when I was thirty
He said bring back something
bring back something we don't have
I sat for two years
in Chang'an
in the room of Huiguo
the master who could not find a successor
He looked at me
he looked at me with his cataract eye
he said I have been waiting for you
for a hundred lifetimes
how late you are
how late you are
He poured the water
from one bowl into another
and not a drop was lost
and not a drop was lost
That is transmission
he said
there is no other transmission
[Refrain — Blackstar coda swell, dissonant strings]
I'm a blackstar
I'm a blackstar
I'm a blackstar on the mountain
I'm the diamond in the dark
I'm the diamond in the dark
I'm the blackstar on Mount Kōya
[Part II — The Letter / 書]
[sax solo, melodic now, almost romantic. Acoustic guitar enters, fingerpicked, simple chords. The voice softens into a Bowie Where Are We Now? register.]
[Verse 3]
I have written a letter
to my disciple Shinzei
the candle in my room is short
I will not light another
I have written a letter
to the Emperor
forgive me for leaving
before I taught you
the last syllable
I have written a poem
on the back of the letter
if you understand emptiness
then mountains are mountains
if you do not understand emptiness
then mountains are still mountains
but heavier
but heavier
[Verse 4 — childhood flashback, Bowie's habit of inserting personal memory]
When I was seven
on the island of Shikoku
I climbed a cliff
and jumped off
because a child in a dream
had told me to
I did not break
I landed in the arms of someone
who was not there
I am still in those arms
I am still in those arms
[Verse 5 — direct address]
Huiguo
I gave them what you gave me
I built a school for the children of farmers
I built a reservoir
I built a temple where every wall is a sutra
I drew the Mandala with a hundred and seventy seven Buddhas
each one of them is me
each one of them is you
each one of them is the boy on the cliff
Buddha and demon
are two strokes of the same brush
held by a hand
that does not exist
held by a hand
that does not exist
[saxophone solo, full and bluesy now, Donny McCaslin style. Long.]
[Verse 6 — preparing for samādhi]
The disciples have been told
do not open the door
for fifty million years
do not open the door until Maitreya comes
I have folded my robe
I have folded my robe
I have arranged my hands in the jñāna mudrā
right hand on left, thumbs touching, the universe between them
the universe between them
The bell will ring three times
and then it will not ring
and then it will not ring
and I will not have stopped breathing
because the breath was never mine
because the breath was never mine
[Refrain — bigger, the full ensemble, ritualistic]
I'm a blackstar
I'm a blackstar
I'm not a pop star
I'm not a film star
I'm a blackstar on the mountain
A — Ā — I — Ī — U — Ū
A — Ā — I — Ī — U — Ū
I'm the diamond in the dark
I'm the throat that swallows the bell
I'm the letter that writes itself
[Part III — Disappearance / 入定]
[the ensemble thins. Only the choir drone, the sax very distant, and a single bell struck once every 9 seconds.]
[Verse 7 — very slow, the voice barely there]
Something happened
on the day he died
something happened
on the day he died
Kōbō Daishi
Kōbō Daishi
they will call me that
after I am gone
I will not be gone
I will not be gone
I will be sitting
in the diamond
in the diamond
in the diamond
For a thousand years
the monks will bring me food
twice a day
twice a day
they will say the master is still hungry
they will say the master is still alive
And they will be right
And they will be right
because hunger was never the point
because the point was the bringing
[Outro — the bell, the breath, then nothing]
A — Ā
I — Ī
U — Ū
[the choir fades]
[the sax plays one last fragmentary phrase, unresolved]
[the bell strikes]
[wind on Mount Kōya]
[silence]
[ten seconds of silence]
[a single low note — the universe between the thumbs]
空海（774–835）は、厳密には禅僧ではない。禅が日本に根づく四百年前に、唐から密教——真言宗——を持ち帰った、この索引の「外」に立つ始祖である。835年、高野山。彼は弟子たちに指示を残し、坐したまま入定した。死んだのではなく、深い瞑想に入ったまま、いまも坐り続けているとされる。高野山奥之院では千二百年経った現在も、一日二回、彼のもとへ食事が運ばれている。
David Bowie の『Blackstar』（2016）は、リリースの二日後に本人が世を去ることで完成したアルバムだった。死を隠すのでも嘆くのでもなく、最後の作品として演出しきること。「I'm not a pop star — I'm a blackstar」という宣言は、死後「弘法大師」という星になった空海の伝説と正確に韻を踏む。消える直前に一度だけ大きく燃える、九曲目の蝋燭。このあとに残るのは、沈黙だけである。
TRACK 10SIDE B
黙れ。
鈴木大拙（近代・1870–1966） × John Cage（『4′33″』1952）
[opening: 1 minute 13 seconds of pure silence. Then the sound of a chair being pulled out, a glass of water being poured, a throat clearing — all recorded in a small classroom with wooden floors. No music yet.]
[a voice — very old, accented English, gentle, slightly amused — begins to speak. Not sing. Speak. The voice has the timbre of someone who has lived 80 years. Pauses are part of the score. Each ° marks a 4-second silence. Each °° marks a 9-second silence.]
[Section I — The Lecturer]
Good evening
°
I am Daisetz
°
which means
great
simplicity
°°
my mother named me Teitarō
°
my master named me Daisetz
°
both of them
were correct
°°
I have come here from Kamakura
to teach you
something
°
that cannot be taught
°°
this is the first
and the last
problem
of my profession
°
I apologize
°
for the inconvenience
[a prepared piano plays one note. The string buzzes against a bolt. Long decay. Silence.]
[Section II — The Translator]
For fifty years
°
I have been translating
°
Rinzai
°
kill the Buddha
°
into English
°
I have been translating
°
Ikkyū
°
the brothel
is the temple
°
into English
°
I have been translating
°
Dōgen
°
firewood
does not become
ash
°
into English
°°
It cannot be done
°
it cannot be done
°
and I have done it
°
for fifty years
°°
The Japanese word
satori
°
I have translated as
enlightenment
°
which is
°
wrong
°
The English word
enlightenment
°
suggests
°
that the lamp
°
was off
°
and is now
°
on
°
But the lamp
°
was never off
°°
I apologize
°
for the inconvenience
[prepared piano: a small cluster of notes, the bolt buzzing. Then a coin dropped on a string. Then silence.]
[Section III — The Composer in the Front Row]
There is a young man
°
in the front row
°
his name
°
is John
°
he writes music
°
he tells me
°
he writes music
°
made of silence
°°
I asked him
°
how long is the silence
°
He said
°
four minutes and thirty three seconds
°
I asked him
°
why that number
°
He said
°
because it is
°
four minutes
and thirty three seconds
°°
I told him
°
you understand
°
more than my disciples
in Kamakura
°°
He laughed
°
the way Americans laugh
°
which is
°
loudly
°
and then
°
he was silent
°
the way Japanese are silent
°
which is
°
even more loudly
[radio static — 30 seconds of randomly tuned frequencies, then it stops]
[Section IV — The Cataloguing]
Let me tell you
°
about the men
°
I have translated
°°
There was Rinzai
°
who shouted
°
katsu
°
which means
°
nothing
°
which means
°
everything
°
There was Ikkyū
°
who loved a blind woman
°
in his eighties
°
and wrote poems
°
that the abbots
°
tried to burn
°
There was Shōsan
°
the samurai-monk
°
who said
°
your hammer
is a sutra
°
There was Bankei
°
who told the farmers
°
you already have it
°
you already have it
°
please don't become anything
°
There was Dōgen
°
who returned from China
°
with empty hands
°
and wrote books
°
that nobody has finished reading
°
in seven hundred years
°
There was Hakuin
°
who painted frogs
°
and asked
°
what is the sound
of one hand
°
There was Musō
°
who placed stones
°
in the garden
°
during a civil war
°
There was Ryōkan
°
who played ball
°
with the village children
°
and gave his robe away
°
again
°
There was Kūkai
°
who sat down on a mountain
°
twelve hundred years ago
°
and has not stood up
°°
I have translated them all
°
into English
°
And I have failed
°
to translate them all
°
into English
°
Both of these
°
are true
°
at the same time
°
I apologize
°
for the inconvenience
[prepared piano: a long slow arpeggio with three buzzing strings. Then a thrown piece of paper. Then silence.]
[Section V — The Question]
A student raised his hand
°
he said
°
Professor Suzuki
°
what is Zen
°
I said
°
°
°
[12 seconds of silence]
°
The student waited
°
and waited
°
and finally
°
he wrote it down in his notebook
°
That night
°
in his dormitory
°
he looked at his notebook
°
He had written
°
nothing
°
He had written
°
twelve seconds
of nothing
°°
That was my answer
°
that was my answer
°
he had written it down
°
correctly
[Section VI — John, again]
John came to my office
°
after that lecture
°
He said
°
Professor
°
may I be silent now
°
I said
°
you have always been silent
°
you only just noticed
°
He said
°
may I write a piece of music
°
that is silence
°
I said
°
you cannot write silence
°
silence cannot be written
°
He said
°
then I will write the frame
°
and let the silence do the rest
°
I said
°
yes
°
that is
°
the only way
°
to write silence
°°
He bowed
°
incorrectly
°
the way Americans bow
°
which is
°
charming
°
and he left
°°
Two years later
°
he wrote the piece
°
he called it
°
four minutes
and thirty three seconds
°
He sent me the score
°
the score is blank
°
the score is blank
°
the score is blank
°
I keep it on my desk
°
in Kamakura
°
under a teacup
°
It is the most accurate translation
°
of Zen
°
into Western notation
°
that has ever been made
°
I could not have done it
°
in fifty years
°
He did it
°
in two
°°
I apologize
°
for the inconvenience
[the radio static returns — 22 seconds. Then a single piano note, unprepared, clean. Then silence.]
[Section VII — Closing]
I am eighty years old
°
in 1950
°
I will live until ninety five
°
this I do not know yet
°
I will publish more books
°
in English
°
than any Japanese
°
has ever published
°
this I do not know yet
°
Carl Jung will write a foreword for me
°
Heidegger will read me
°
Salinger will read me
°
the Beat poets will read me
°
a young man named Cohen
°
will write a song
°
that is half a sutra
°
this I do not know yet
°
A man named Bowie
°
will record an album
°
called Heroes
°
in Berlin
°
and will use my word
°
satori
°
in an interview
°
this I do not know yet
°°
I know
°
only this:
°
That I have translated
°
something
°
that cannot be translated
°
That John has composed
°
something
°
that cannot be composed
°
That the lamp
°
was never off
°
That the lamp
°
will not be turned on
°
That the lamp
°
is the room
°°
Thank you
°
for coming
°
Class is dismissed
[Section VIII — 4'33"]
[the lecturer steps away from the lectern. The recording continues. There is no music. There is no voice. There is the room: the building's ventilation, distant traffic outside, a student coughing, a chair shifting, paper rustling, somebody whispering, the radiator clicking.]
[this section is exactly 4 minutes and 33 seconds.]
[at the end, nothing has been resolved.]
[at the end, everything has been resolved.]
[the recording stops without ceremony.]
鈴木大拙（1870–1966）は、禅を英語で書き続けた学者である。1950年代、八十歳を過ぎてコロンビア大学で行った連続講義には、作曲家、詩人、画家、心理学者が集まった。最前列に、ジョン・ケージがいた。ケージは1952年、演奏者が何も弾かない『4分33秒』を発表する——沈黙のためではなく、その場に鳴っているすべての音を聴くための、額縁として。
つまりこの連作が試みた「禅×20世紀音楽」という掛け算は、この教室で実際に始まったことの再演にすぎない。曲のなかで大拙は、これまでの九曲の登場人物をひとりずつ目録に読み上げ、翻訳の失敗を詫び、教室を沈黙に引き渡す。最後の命令は「黙れ」。そして四分三十三秒——このページを最後までスクロールしてきたあなたの手元でも、ちょうどその時間が満ちるように出来ている。
4′33″
殺せ ─ 抱け ─ 起きろ ─ 何もするな ─ 而今 ─ 叩け・描け ─ 置け ─ 手放せ ─ 入定せよ ─ 黙れ
( THE SCORE IS BLANK )
ここまでスクロールしてきた時間が、最後の一曲だった。