Resonant Awakening: Enlightenment in Zou Ye’s Symphony Kūkai
- Dr Gavin S. K. Lee
- Jul 4
- 4 min read
In his monumental Symphony Kūkai, Chinese composer Zou Ye invites audiences into a contemplative experience.
by Gavin S. K. Lee on 4 July, 2025
In the mid-20th century, American composer John Cage revolutionised Western music by embracing silence and chance, drawing profound inspiration from Zen Buddhism. His avant-garde compositions challenged traditional notions of sound and meaning, inviting listeners into a meditative space where the boundaries between noise and music dissolved.
This philosophical integration of Eastern thought into Western art music finds a contemporary parallel in Symphony Kūkai, a monumental six-movement work composed in 2023 by Chinese composer Zou Ye.
Commissioned to commemorate the 1,250th anniversary of the birth of Kūkai – a revered Japanese Buddhist monk, scholar, and founder of the Shingon school of Esoteric Buddhism – this symphony transcends cultural and temporal boundaries. Through a rich tapestry of orchestral and choral textures, Zou Ye’s composition narrates Kūkai’s spiritual journey, from his studies in Tang Dynasty China under Master Huiguo to his establishment of Shingon Buddhism in Japan.
Premiered in Lanzhou, China, and subsequently performed in Kyoto and Tokyo, the symphony’s European debut took place at London’s Central Hall Westminster in August 2024, featuring the Orpheus Sinfonia and choirs from both China and the UK.
Much like Cage’s exploration of silence and sound, Symphony Kūkai invites audiences into a contemplative experience, reflecting on the transcendence of sensory attachments and the pursuit of enlightenment.
In Buddhism, enlightenment – known as bodhi in Sanskrit or satori in Japanese Zen – is the awakening to the true nature of reality, free from the illusions and attachments that bind us to suffering. Central to this journey is the concept of the “six dusts”: sight, sound, smell, taste, touch and thought. These sensory experiences, while integral to human life, are seen as distractions that cloud the mind and obscure our innate Buddha-nature. Transcending these “dusts” involves a profound inner purification, leading to a state of clarity and liberation. This process can be likened to tuning a musical instrument.
Just as a musician adjusts the strings of a zither to achieve perfect harmony – not too tight, not too loose – a practitioner balances their senses and thoughts to attain spiritual equilibrium. In fact, the Buddha himself used this analogy when advising a monk on the importance of moderation in practice. This metaphor underscores the idea that enlightenment is not about suppression but about harmonious attunement to the present moment, allowing one to perceive reality without distortion. The Buddha reminded the monk Sona Sutta of his experience as a skilled musician and asked: “When the strings of your lute were too tight, was it tuneful and easily playable?”
“Certainly not, O Lord,” Sona replied.
“And when the strings were too loose, was it tuneful and easily playable?”
“Certainly not, O Lord.”
“But when the strings were neither too tight nor too loose, but adjusted to an even pitch, was it tuneful and easily playable?”
“Certainly, O Lord.”
The Buddha concluded:
“Similarly, Sona, if energy is applied too strongly, it will lead to restlessness; if energy is too lax, it will lead to laziness. Therefore, maintain balance in your energy and focus your intention accordingly.”
Symphony Kūkai presents a compelling paradox: it employs sound – a sensory experience considered one of the “six dusts” in Buddhist philosophy, which are to be transcended on the path to enlightenment – to musically depict the very journey of transcending these sensory attachments.
The prologue movement sets a contemplative tone by portraying the omnipresence of Buddhas – the idea that enlightened wisdom permeates all aspects of existence – and emphasising that every being possesses the inherent capacity to attain enlightenment. Through its musical narrative, the symphony invites listeners to reflect on this universal potential for spiritual awakening.
The prologue begins with sustained strings, creating a tranquil atmosphere. A gentle, rhythmic interplay between tonic and dominant bass notes in triple time mimics the ebb and flow of waves, symbolising Kūkai journeys to and from China. This serene passage culminates in a luminous pentatonic cluster, suggesting the emergence of clarity from the depths of meditation.
Thereafter, a plaintive cor anglais introduces a lyrical melody in a major key, soon joined by the chorus, whose voices swell into a moving minor-key passage sung on open vowels over a steady march-like accompaniment. This section intensifies, layering harmonies that ascend toward a radiant cadence in the major key, reflecting the aspirant’s progression toward spiritual insight. An expressive string melody then bursts forth, embodying the moment of awakening, before the chorus reenters with a passage rich in pathos, crowned by high soprano lines and reinforced by brass and timpani, marking the movement’s emotional zenith.
As the music subsides, it leaves behind the lower strings, concluding with a plagal cadence that shifts from a minor to a major IV chord, subtly altering the sixth degree in the melody. This final transformation signifies the dissolution of sensory attachments and the realisation of the pure and perfect wisdom of the Tathāgata. In Buddhist tradition, “Tathāgata” is an epithet for the Buddha, often interpreted as “one who has thus gone” or “one who has thus come,” reflecting the transcendent nature of an enlightened being who has moved beyond the cycles of birth and death.
By concluding with this profound shift, the symphony’s prologue encapsulates the essence of enlightenment, guiding listeners from the entanglements of sensory experience toward the realisation of ultimate truth.
In the prologue of Symphony Kūkai, Zou Ye masterfully intertwines symbolic musical passages to depict the Buddhist journey toward enlightenment. In an era marked by geopolitical tensions and ecological crises, Symphony Kūkai emerges as a profound meditation on enlightenment as a guiding principle for modern life.
The symphony’s exploration of transcending the six sensory “dusts” – sight, sound, smell, taste, touch, and thought – resonates deeply in our contemporary context, where sensory overload, material consumption, and media distractions often cloud judgment and hinder collective well-being. By musically illustrating the journey from sensory entanglement to spiritual clarity, the symphony offers a sonic blueprint for inner transformation and societal co-existence.
Symphony Kūkai stands as a testament to the enduring relevance of ancient wisdom in addressing modern challenges, inviting listeners to reflect on the path toward a more compassionate world. Readers are encouraged to ponder the full symphony – which space limitations unfortunately precludes further elaboration on here – in future performances or on Youtube.
Dr Gavin S. K. Lee is a Lecturer at the Sydney Conservatorium of Music.
