The composer Yoshihisa Taïra (1937-2005) seeks - in his composition - to achieve a cultural synthesis between France, where he was trained and lived, and Japan, his country of origin. He then uses meditation as a musical theme to free himself from the intellectualization and verbalization of music, with the aim of returning to listening as a musical essence. Using the concept of ma (emptiness), inspired by Zen Buddhist thought, Taïra manages to find a position balanced with the aesthetic context of French postmodernity represented by Jean-François Lyotard. This article therefore delves into what meditation is for Taïra as a cultural synthesis, analyzing from a musical and philosophical point of view the possibility of the existence of an ideological crossroads between these two cultures that would incite the composer to return to the inspiration of Japanese culture, with the help of the thought stemming from Kitarô Nishida's Logique du lieu.