In 1983, John Cage used the traditional stone garden, or karesansui at the Zen temple, Ryōan-ji in Kyoto as a model to generate a series of visual and musical works that utilized tracings of a collection of his own rocks. In this article, I analyze the first of the musical works, Ryoanji for oboe, using mixed methods drawn from morphological image analysis and formal concept analysis (FCA). I introduce the aesthetics of the karesansui and then examine the previous work of van Tonder and Lyons regarding the medial axis transform (MAT) of the garden at Ryōan-ji. This leads to the use of the distance transform, local maxima, and Voronoi diagram in order to decompose the two-dimensional image plane of Cage's Ryoanji for oboe. Finally, using the technique of FCA for constructing a number of formal concept lattices, the pitch-class segmentation of Ryoanji for oboe is investigated in regard to the sound gardens and the classes of Voronoi regions found across sound gardens.

1983年，约翰·凯奇采用了传统的石头花园，或karesansui在禅寺，龙安寺京都作为模型来生成一系列的视觉和音乐作品是利用自己的岩石的集合描记的。在本文中，我使用形态图像分析和形​​式概念分析（FCA）的混合方法分析了第一部音乐作品，即Ryoanji for oboe。我介绍karesansui的美学，然后研究van Tonder和Lyons关于Ryōan-ji的花园的中轴变换（MAT）的先前工作。这导致使用距离变换，局部最大值和Voronoi图来分解Cage的Ryoanji的二维像平面对双簧管。最后，使用FCA技术构造许多形式的概念格，针对声花园和跨声花园发现的Voronoi地区类别，研究了Ryoanji for oboe的音高分类。