lation of different compositional methodologies, forms, instrumental techniques, performance practices and not least, innovative aesthetic horizons. What is particularly important in Cage’s work is the compositional mind, I mean the composer’s psychological attitude on the level of conceptualisation. The acceptance of Zen Buddhism, of course, caused a drastic rethinking of both artistic aims and compositional methodologies: the genesis and performance logistics of works such as the Variations cycle, ‘A Collection of Rocks’ (1982) and ‘Ryoan-Ji’ (1983–85) – to mention but a few – are a case in point in that they deny Western procedural logic whilst embracing indeterminacy at any level of decision. Here we have an example of a Western composer questioning the traditional European concept of music and allowing Eastern and other philosophical concepts to reinterpret Western artistic conditions – both composition and performance. It is the confrontation of these two poles that provides the freshness of much of Cage’s music. The composer’s musical output shows how it is possible to work with the idiosyncrasies of specific traditions, such as Zen philosophy, within Western logistics of performance and instrumentation.

Nevertheless, Paul Griffiths’ doubt on the credibility of a genuine intercultural understanding during the second half of the 20th century is sound if we look at the entire musical scene, at least in the West. Griffiths, however, seems to be diverting from the intercultural issue when he states that: ‘the possibility that oriental artistic practises and philosophies will unsettle western music more profoundly remains for the future, however much noise there has been. Even Cage, in his pursuit of a zen music of non-intention, could not escape western conditions of musical communication (the score, the rehearsal, the concert, the recording), let alone western notions of artist and oeuvre’ (Griffiths, 1995:157). The point I am trying to make is that in composition an intercultural – indeed global – approach is not concerned about one set of theories or practises prevailing upon another, nor preoccupied in seeing certain conditions of performance being replaced by others; on the contrary, it is focussed on the interaction of diverse aesthetics and methodologies, techniques and practises. Let us then look at a specific aspect, namely that of instruments and symbolism.

2.1.2 Instruments as metaphor?

It is questionable whether the inclination of some Western composers to resort to non-Western philosophical and literary sources for the inspiration of their work, rather than to the use of world instruments, depends on disinterest or on the poor availability of world instruments and the relevant performers in the West. Reversely, one could question why those Eastern composers known in the West who have used Western instruments as their medium have not retained their traditional instruments or, more logically, extended the palette of instrumental combinations of those instruments.¹²

The music of Chou Wen-Chung, Isan Yun and Toru Takemitsu, just to mention a few, has managed to challenge the Western sense of time and colour and to show how it is possible to merge Eastern sensitivity and