Tōru Takemitsu - Knowledge (XXG)

1127:("In an Autumn Garden", although he later incorporated the work, as the fourth movement, into his 50-minute-long "In an Autumn Garden—Complete Version"). As well as being "... the furthest removed from the West of any work he had written", While it introduces certain Western musical ideas to the Japanese court ensemble, the work represents the deepest of Takemitsu's investigations into Japanese musical tradition, the lasting effects of which are clearly reflected in his works for conventional Western ensemble formats that followed. 691:) written 10 years earlier, is heavily influenced by Debussy, and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work. Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period. 423: 1542: 1445: 683:(1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s. The former, 1673:"Corona" (London Version) and "Undisturbed Rest" and of the inspirational leadership he provided Woodward's generation: " From all composers with whom I ever worked it was Toru Takemitsu who understood the inner workings of music and sound on a level unmatched by anyone else. His profound humility concealed an immense knowledge of Occidental and Oriental cultures which greatly extended historical contributions of Debussy and Messiaen." 1194: 1590:(1964) for piano and orchestra, in which sections of the orchestra are divided into groups, and required to repeat short passages of music at will. In these passages the overall sequence of events is, however, controlled by the conductor, who is instructed about the approximate durations for each section, and who indicates to the orchestra when to move from one section to next. The technique is commonly found in the work of 3743: 1131: 4950: 955: 495:. Despite the trials of writing such an ambitious work, Takemitsu maintained "that making the attempt was very worthwhile because what resulted somehow liberated music from a certain stagnation and brought to music something distinctly new and different". The work was distributed widely in the West when it was coupled as the fourth side of an LP release of 786:, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, 4938: 1259:, for which he asked Messiaen's permission to use the same instrumental combination for the main quartet, cello, violin, clarinet and piano (which is accompanied by orchestra). As well as the obvious similarity of instrumentation, Takemitsu employs several melodic figures that appear to "mimic" certain musical examples given by Messiaen in his 4974: 4962: 942:(1963–66/1976). In these works, the more conventional orchestral forces are divided into unconventional "groups". Even where these instrumental combinations were determined by the particular ensemble commissioning the work, "Takemitsu's genius for instrumentation (and genius it was, in my view) ...", in the words of 419:

since in the years following the war traditional music was largely overlooked and ignored: only one or two "masters" continued to keep their art alive, often meeting with public indifference. In conservatoria across the country, even students of traditional instruments were always required to learn the piano.

205:. In 1938 he returned to Japan to attend elementary school, but his education was cut short by military conscription in 1944. Takemitsu described his experience of military service at such a young age, under the Japanese Nationalist government, as "... extremely bitter". Takemitsu first became conscious of 1078:

When, from the early 1960s, Takemitsu began to "consciously apprehend" the sounds of traditional Japanese music, he found that his creative process, "the logic of my compositional thought was torn apart", and nevertheless, "hogaku seized my heart and refuses to release it". In particular, Takemitsu

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He expressed his unusual stance toward compositional theory early on, his lack of respect for the "trite rules of music, rules that are ... stifled by formulas and calculations"; for Takemitsu it was of far greater importance that "sounds have the freedom to breathe. ... Just as one cannot

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Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works

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I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of

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During the post-war U.S. occupation of Japan, Takemitsu worked for the U.S. Armed Forces, but was ill for a long period. Hospitalised and bed-ridden, he took the opportunity to listen to as much Western music as he could on the U.S. Armed Forces network. While deeply affected by these experiences of

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Takemitsu attached the greatest importance to the director's conception of the film; in an interview with Max Tessier, he explained that, "everything depends on the film itself ... I try to concentrate as much as possible on the subject, so that I can express what the director feels himself. I

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music in Bali. The experience influenced the composer on a largely philosophical and theological level. For those accompanying Takemitsu on the expedition (most of whom were French musicians), who "... could not keep their composure as I did before this music: it was too foreign for them to be able

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He was also invited to attend numerous international festivals throughout his career, and presented lectures and talks at academic institutions across the world. He was made an honorary member of the Akademie der Künste of the DDR in 1979, and the American Institute of Arts and Letters in 1985. He

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composed "In Memoriam Toru Takemitsu" for unaccompanied violoncello. Woodward recalled concerts with Takemitsu in Australia, the Decca Studios and Roundhouse, London and at the 1976 ' Music Today' Festival, with Kinshi Tsuruta and Katsuya Yokoyama; Takemitu's dedication of "For Away",

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By this time, Takemitsu's incorporation of traditional Japanese (and other Eastern) musical traditions with his Western style had become much more integrated. Takemitsu commented, "There is no doubt ... the various countries and cultures of the world have begun a journey toward the geographic

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Despite his lack of musical training, and taking inspiration from what little Western music he had heard, Takemitsu began to compose in earnest at the age of 16: "... I began music attracted to music itself as one human being. Being in music I found my raison d'être as a man. After the war, music

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One notable consideration in Takemitsu's composition for film was his careful use of silence (also important in many of his concert works), which often immediately intensifies the events on screen, and prevents any monotony through a continuous musical accompaniment. For the first battle scene of

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Thereafter, he resolved to study all types of traditional Japanese music, paying special attention to the differences between the two very different musical traditions, in a diligent attempt to "bring forth the sensibilities of Japanese music that had always been within ". This was no easy task,

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I wanted to plan a tonal "sea". Here the "sea" is E-flat -E-A, a three-note ascending motive consisting of a half step and perfect fourth. this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal

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Takemitsu summarized his initial aversion to Japanese (and all non-Western) traditional musical forms in his own words: "There may be folk music with strength and beauty, but I cannot be completely honest in this kind of music. I want a more active relationship to the present. (Folk music in a

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that "... the complete collection entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features

280:: an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote 1273:

On hearing of Messiaen's death in 1992, Takemitsu was interviewed by telephone, and still in shock, "blurted out, 'His death leaves a crisis in contemporary music!'" Then later, in an obituary written for the French composer in the same year, Takemitsu further expressed his sense of loss at

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had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and

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Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained much later, in a lecture at the New York International Festival of the Arts, that for him Japanese traditional music "always recalled the bitter memories of war".

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When spelt in German (Es–E–A), the motive can be seen as a musical "transliteration" of the word "sea". Takemitsu used this motive (usually transposed) to indicate the presence of water in his "musical landscapes", even in works whose titles do not directly refer to water, such as

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for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as

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For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow ... the orchestration of Debussy has many musical focuses." He was fully aware of Debussy's own interest in Japanese art, (the cover of the first edition of

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Given the enthusiasm for the exotic and the Orient in these and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much.

360:. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of 1018: 1642:, Jō Kondō wrote, "Needless to say, Takemitsu is among the most important composers in Japanese music history. He was also the first Japanese composer fully recognized in the west, and remained the guiding light for the younger generations of Japanese composers." 974:'contemporary style' is nothing but a deception)." His dislike for the musical traditions of Japan in particular were intensified by his experiences of the war, during which Japanese music became associated with militaristic and nationalistic cultural ideals. 1503:(1960), Takemitsu's source material consisted entirely of sounds produced by droplets of water. His manipulation of these sounds, through the use of highly percussive envelopes, often results in a resemblance to traditional Japanese instruments, such as the 385:—certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in 524:

to assess the resulting discrepancies with their logic", the experience was without precedent. For Takemitsu, however, by now quite familiar with his own native musical tradition, there was a relationship between "the sounds of the gamelan, the tone of the

1612:). However, as the composer attained financial independence, he grew more selective, often reading whole scripts before agreeing to compose the music, and later surveying the action on set, "breathing the atmosphere" whilst conceiving his musical ideas. 1416: 1162:(see ex. 3), and its specific timbres, are clearly emulated in Takemitsu's writing for brass instruments; even similarities of performance practice can be seen, (the players are often required to hold notes to the limit of their breath capacity). In 997:

scales throughout. When Takemitsu discovered that these "nationalist" elements had somehow found their way into his music, he was so alarmed that he later destroyed the works. Further examples can be seen for example in the quarter-tone glissandi of

1665:. Though he was the senior of our group by many years, Toru stayed up with us every night and literally drank us under the table. I was confirmed in my impression of Toru as a person who lived his life like a traditional Zen poet." 324:"passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the 40: 635:

Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as

1246:, (mode II, or the 8–28 collection), and mode VI (8–25) is particularly common. However, Takemitsu pointed out that he had used the octatonic collection in his music before ever coming across it in Messiaen's music. 1170:

and its chords (several of which are simultaneous soundings of traditional Japanese pentatonic scales) are emulated in the opening held chords of the wind instruments (the first chord is in fact an exact transposition of the

414:, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music. 1087:, could "so transport our reason because they are of extreme complexity ... already complete in themselves". This fascination with the sounds produced in traditional Japanese music brought Takemitsu to his idea of 1238:, the suspension of regular metre, and sensitivity to timbre. Throughout his career, Takemitsu often made use of modes from which he derived his musical material, both melodic and harmonic among which Messiaen's 911:

Takemitsu's sensitivity to instrumental and orchestral timbre can be heard throughout his work, and is often made apparent by the unusual instrumental combinations he specified. This is evident in works such as

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Messiaen's death: "Truly, he was my spiritual mentor ... Among the many things I learned from his music, the concept and experience of color and the form of time will be unforgettable." The composition

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for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as the leading 20th-century Japanese composer. He was the recipient of

1626:, Takemitsu provided an extended passage of intense elegiac quality that halts at the sound of a single gunshot, leaving the audience with the pure "sounds of battle: cries screams and neighing horses". 1390:

and Takemitsu's earlier works relating to the sea are incorporated into the musical flow ("stylistic jolts were not intended"), depicting the landscape outside the Japanese garden of his own music.

480:(1966) illustrates Takemitsu's attempts to find a viable notational system for these instruments, which in normal circumstances neither sound together nor are used in works notated in any system of 1608:

Takemitsu's contribution to film music was considerable; in under 40 years he composed music for over 100 films, some of which were written for purely financial reasons (such as those written for

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were composed. For Oliver Knussen, "the final appearance of the main theme irresistibly prompts the thought that Takemitsu may, quite unconsciously, have been attempting a latter-day Japanese

1320:). For Takemitsu, this interest in Japanese culture, combined with his unique personality, and perhaps most importantly, his lineage as a composer of the French musical tradition running from 1398:

Several recurring musical motives can be heard in Takemitsu's works. In particular the pitch motive E♭–E–A can be heard in many of his later works, whose titles refer to water in some form (

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in his early twenties, then married him in 1954. They had one child, a daughter named Maki. Asaka attended most premieres of his music and published a memoir of their life together in 2010.

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His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it."

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of sound and silence does not have an organic relation for the purpose of artistic expression. Rather, these two elements contrast sharply with one another in an immaterial balance.

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The Toru Takemitsu Composition Award, intended to "encourage a younger generation of composers who will shape the coming age through their new musical works", is named after him.

3790: 969:, for two flutes (1959). An early example of Takemitsu's incorporation of traditional Japanese music in his writing, shown in the unusually notated quarter-tone pitch bend above. 1562: 1255:

for Takemitsu at the piano", which, Takemitsu recalled, was like listening to an orchestral performance. Takemitsu responded to this with his homage to the French composer,

381:, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of 374:(both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score". 596:. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants 4470: 528:, the unique scales and rhythms by which they are formed, and Japanese traditional music which had shaped such a large part of my sensitivity". In his solo piano work 1345: 1032:, for solo piano (1950/1989). Another early example of Takemitsu's incorporation of traditional Japanese music in his writing, shown here in the use of the Japanese 4189: 3449: 3101: 2976: 2162: 1979: 1093:(usually translated as the space between two objects), which ultimately informed his understanding of the intense quality of traditional Japanese music as a whole: 555:(1973). The significance of this work is revealed in its far greater integration of the traditional Japanese instruments into the orchestral discourse; whereas in 977:

Nevertheless, Takemitsu incorporated some idiomatic elements of Japanese music in his very earliest works, perhaps unconsciously. One unpublished set of pieces,

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writes: "I am very proud of my friend Toru Takemitsu. He is the first Japanese composer to write for a world audience and achieve international recognition."

559:, the two contrasting instrumental ensembles perform largely in alternation, with only a few moments of contact. Takemitsu expressed this change in attitude: 244:, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French 5049: 1465: 1041: 5129: 5119: 5034: 4463: 3613: 1814: 1653:, written in memory of Takemitsu: "I spent the most time with Toru in Tokyo when I was invited to be a guest composer at his Music Today Festival in 1987. 1535:, in which musicians playing traditional Japanese instruments were able to play in an orchestral setting with a certain degree of improvisational freedom. 5109: 1551: 1343:, for orchestra, 1967: "steeped in the sound-color world of the orchestral music of Claude Debussy") Takemitsu said he had taken the scores of Debussy's 3746: 896:, and remained a lifelong influence. Although Takemitsu's wartime experiences of nationalism initially discouraged him from cultivating an interest in 154:

He composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the

5114: 5019: 5004: 3783: 930:, with a conventional Western orchestra. It may also be discerned in his works for ensembles that make no use of traditional instruments, for example 867: 5014: 5009: 3908: 3259: 2082: 1561: 431: 5054: 5124: 5104: 5099: 5089: 5069: 3932: 3631: 2061: 1707: 284:("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic 5084: 3401: 3114: 2989: 2308: 2259: 2175: 1992: 1249:

In 1975, Takemitsu met Messiaen in New York, and during "what was to be a one-hour 'lesson' lasted three hours ... Messiaen played his

1531:, in which performers are given a degree of choice in what to perform. As mentioned previously, this was particularly used in works such as 151:. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. 5094: 5059: 3776: 1464: 1040: 675:

Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of

466:, and orchestra. Initially, Takemitsu had great difficulty in uniting these instruments from such different musical cultures in one work. 3191: 854:

He was married to Asaka Takemitsu (formerly Wakayama) for 42 years. She first met Toru in 1951, cared for him when he was suffering from

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But now my attitude is getting to be a little different, I think. Now my concern is mostly to find out what there is in common ...

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Smaldone, Edward, "Japanese and Western Confluences in Large-Scale Pitch Organization of Tōru Takemitsu's November Steps and Autumn",

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chord, Jū (i); see ex. 3); meanwhile a solo oboe is assigned a melodic line that is similarly reminiscent of the lines played by the

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By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with

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prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.

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in 1973), a single, complex line is distributed between the pianist's hands, which reflects the interlocking patterns between the

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harmonies in the strings, clearly point to the influence of Takemitsu's compositional mentor, and of these works in particular.

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Koozin, Timothy (2002). "Traversing distances: Pitch organization, gesture and imagery in the late works of T l ru Takemitsu".

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Kanazawa, Masakata (2001). "Japan, §IX, 2(i): Music in the period of Westernization: Western music and Japan up to 1945". In

2090: 1239: 1101:, an unquantifiable metaphysical space (duration) of dynamically tensed absence of sound. For example, in the performance of 2201:

Fujii, Koichi (2004). "Chronology of early electroacoustic music in Japan: What types of source materials are available?".

5064: 5044: 1278:, which was to be Takemitsu's final piano piece, was also written that year and subtitled "In Memoriam Olivier Messiaen". 4928: 3462: 3451:

Voice, itinerant, and air: a performance and analytical guide to the solo flute works of Toru Takemitstype=Dortor of Arts

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However, he also employed a technique that is sometimes called "aleatory counterpoint" in his well-known orchestral work

213:") which he listened to with colleagues in secret, played on a gramophone with a makeshift needle fashioned from bamboo. 5039: 900:, he showed an early interest in "... the Japanese Garden in color spacing and form ...". The formal garden of the 210: 3096: 2971: 2949: 2157: 1974: 1316: 1251: 4125: 3526: 402:

For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out:

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Takemitsu won awards for composition, both in Japan and abroad, including the Prix Italia for his orchestral work

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and Joyce Bourne Kennedy, (Oxford, 2013), Oxford Reference Online, Oxford University Press (subscription access).

1858: 1422:. Various examples of Takemitsu's S–E–A motive, derived from the German spelling of the notes E♭, E, A ("Es–E–A") 1114: 831: 1811: 1156:(1974, for brass ensemble), the limited and pitch-specific harmonic vocabulary of the Japanese mouth organ, the 1071:. The pitches of the opening melody combine to form the constituent notes of the ascending form of the Japanese 5134: 4392: 4293: 3245: 1704: 4728: 4698: 4671: 4305: 815:, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".) 501: 325: 2641: 1220:

on Takemitsu was already apparent in some of Takemitsu's earliest published works. By the time he composed

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in 1958, the Otaka Prize in 1976 and 1981, the Los Angeles Film Critics Award in 1987 (for the film score

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Toward the end of his life, Takemitsu had planned to complete an opera, a collaboration with the novelist

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in which colour is given special attention, gave Debussy his unique style and sense of orchestration.

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puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao

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His complete piano works have been recorded, among others by the Indonesian pianist and composer

1527:'s compositional procedure that Takemitsu continued to use throughout his career, was the use of 834:

in France. He was in the process of publishing a plan of its musical and dramatic structure with

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and historic unity of all peoples ... The old and new exist within me with equal weight."

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returned from his studies in America in 1961, he gave the first Japanese performance of Cage's

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and whose collaborative work is often regarded among the most influential of the 20th century.

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During Takemitsu's years as a member of the Jikken Kōbō, he experimented with compositions of

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Koozin, Timothy (Winter 1991). "Octatonicism in Recent Solo Piano Works of Tōru Takemitsu".

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McKenzie, Don, "Review: Reviewed Work(s): To the Edge of Dream, for Guitar and Orchestra",

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During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of

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Schlüren, Christoph, "Review: Peter Burt, 'The Music of Toru Takemitsu' (Cambridge 2001)",

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beginning in 1948, Takemitsu remained largely self-taught throughout his musical career.

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Just one sound can be complete in itself, for its complexity lies in the formulation of

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dancers, singers and story tellers. He was there at the invitation of the choreographer

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Although the immediate influence of Cage's procedures did not last in Takemitsu's music—

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Rae, Charles Bodman (2001). "Lutosławski, Witold, §5: Stylistic maturity, 1960–79". In

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thing. Choosing to be in music clarified my identity." Though he studied briefly with

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who had worked with him during Takemitsu's last visits to Europe in his last years.

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played an increasingly prominent role in Takemitsu's music during this period, as in

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Toru Takemitsu, 65, Introspective Composer Whose Music Evokes East and West, Is Dead

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Frank, Andrew, "Review: Orchestral and Instrumental Music: Tōru Takemitsu: Green",

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ensemble of the Imperial Household; this was fulfilled in 1973, when he completed

946:, "... creates the illusion that the instrumental restrictions are self-imposed". 1560: 1463: 1039: 4902: 4740: 4677: 4665: 4653: 4596: 4557: 4374: 4243: 3963: 3555: 1684: 1662: 993: 775: 609: 585: 513: 492: 3520: 1234:), and the influence of Messiaen is clearly visible in the work, in the use of 4077: 4047: 3987: 3969: 3768: 3530: 2818:

Burt, 167 and Nuss, Steven, "Looking Forward, looking back: Influences of the

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for outstanding achievement in music, for soundtracks to the following films:

1622: 1574: 1477: 1011: 1007: 1006:, and for which he devised his own unique notation: a held note is tied to an 920: 710:(for violin and orchestra, 1980) that would recur throughout his later works: 597: 462: 140: 3503:

Booklet of Corona(London version) For Away/Piano-Distance Undisturbed Rest LP

3432: 3350: 1938:, 2nd Ser., vol. 46, no. 1. (Music Library Association, September 1989), 230. 1683:

In the foreword to a selection of Takemitsu's writings in English, conductor

1224:, (1950), Takemitsu had already come into possession of a copy of Messiaen's 4647: 4443: 4431: 4413: 4229: 4137: 3755: 3581: 2496: 2106: 1524: 1243: 1177: 1068: 1052:, continued to crop up elsewhere in his early works. In the opening bars of 839: 761: 349: 315:

for string orchestra (1957), written as an homage to Hayasaka, was heard by

209:

during his term of military service, in the form of a popular French Song ("

3424: 3342: 1002:(for two flutes, 1959), which mirror the characteristic pitch bends of the 39: 4884: 4869: 4323: 3835: 3534: 2034: 2018: 1528: 1048:

Other Japanese characteristics, including the further use of traditional

838:, but he was prevented from completing it by his death at 65. He died of 807:

for narrator and orchestra (1984), which invokes the musical language of

496: 411: 202: 161: 136: 4167: 2914:, trans./ed. Yoshiko Kakudo and Glen Glasgow, (Berkeley, 1995), 139–141. 1872:

Takemitsu, Tōru, (trans. Adachi, Sumi with Reynolds, Roger), "Mirrors",

872:

Composers whom Takemitsu cited as influential in his early work include

592:, he was at last able to meet more of his Western colleagues, including 311:

In the late 1950s chance brought Takemitsu international attention: his

4341: 4017: 3560: 1505: 1311: 520: 450:, to commemorate the orchestra's 125th anniversary, for which he wrote 407: 104: 3321: 1909: 1881: 1867: 254:

based on the same idea as mine. I was pleased with this coincidence."

1145: 1119: 308:, the latter of whom Takemitsu would collaborate with decades later. 198: 148: 3243:

Wilson, Charles, "Review: Peter Burt, The Music of Toru Takemitsu",

543:

A year later, Takemitsu returned to the instrumental combination of

296:(1956). Takemitsu also studied in the early 1950s with the composer 3313: 1856:

Takemitsu, Tōru, with Cronin, Tania and Tann, Hilary, "Afterword",

3574: 3541: 2054:"Electroacoustic Music in Japan: The Persistence of the DIY Model" 1511: 1414: 1192: 1129: 1016: 953: 892:. Messiaen in particular was introduced to him by fellow composer 589: 421: 194: 3591: 2966:(2001). "Debussy, Claude, §6: Debussy and currents of ideas". In 2248:

Electronic and experimental music: technology, music, and culture

1969:

Narazaki, Yoko; Masakata, Kanazawa (2001). "Takemitsu, Toru". In

1079:

perceived that, for example, the sound of a single stroke of the

702:

In a Tokyo lecture given in 1984, Takemitsu identified a melodic

1862:, vol. 27, no. 2 (Summer, 1989), 205–214, (subscription access) 1351: 926: 720:

from this period have titles that include a reference to water:

517: 436: 4459: 4171: 3904: 3772: 3759: 3595: 2754:

vol. 8, part 2,, trans. Hugh de Ferranti, (Harwood, 1994), 3–4.

1904:, vol. 27, no. 2 (Summer, 1989), 198–204 (subscription access) 981:("Conduit"), written at the age of seventeen, incorporates the 328:

which, he assumed, had come as a suggestion from Stravinsky to

3411:

Nuss, Steven (2002). "Hearing "Japanese", hearing Takemitsu".

2910:

Takemitsu, Tōru, "The Passing of Nono, Feldman and Messiaen",

1890:, vol. 8, part 2, (Harwood, 1994), 3–4, (subscription access) 1876:, vol. 30, no. 1 (Winter, 1992), 36–80, (subscription access) 1267:

for quartet alone, without orchestra, and titled the new work

320: 257:

In 1951, Takemitsu was a founding member of the anti-academic

1290:, referring to the French composer as his "great mentor". As 1242:

to appear with some frequency. In particular, the use of the

2520:

Kondō, Jō "Introduction: Tōru Takemitsu as I remember him",

1540: 1443: 2692:/Oliver Knussen, Deutsche Grammophon: Echo 20/21 453 495–2. 1143:, mouth organ of the traditional Japanese court ensemble, 446:(1962). In 1967, Takemitsu received a commission from the 300:, perhaps best known for the scores he wrote for films by 571:. I really wanted to do something which I hadn't done in 344:

Influence of Cage; interest in traditional Japanese music

2952:, Deutsche Grammophon: Echo 20/21 Series 00289 477 5382. 1886:

Takemitsu, Tōru, (trans. Hugh de Ferranti) "One Sound",

646:

for clarinet, horn, two trombones and bass drum (1976),

1036:

scale in the upper melodic line of the right hand part.

575:, not to blend the instruments, but to integrate them. 2948:, Liner notes to Takemitsu: Garden Rain, performed by 740:(1987). Takemitsu wrote in his notes for the score of 4926: 2826:, (lecture transcribed by E. Michael Richards, 1992) 430:

From the early 1960s, Takemitsu began to make use of

197:

on 8 October 1930; a month later his family moved to

2767:, Columbia University Website, accessed 31 May 2007 842:

on 20 February 1996, while undergoing treatment for

3713: 3638: 1286:Takemitsu frequently expressed his indebtedness to 580:

International status and the gradual shift in style

80: 61: 46: 23: 4223: 1208:and one of the principal motives from Takemitsu's 1113:In 1970, Takemitsu received a commission from the 4275: 4247: 2894: 2892: 2890: 2483:Anderson, Julian, liner notes to Toru Takemitsu, 918:, that combine traditional Japanese instruments, 440:—an instrument he used in his score for the film 5080:International Rostrum of Composers prize-winners 4213: 3368:Creative sources for the Music of Toru Takemitsu 2136:Takemitsu, Tōru, "Contemporary Music in Japan", 1900:Takemitsu, Tōru, "Contemporary Music in Japan", 608:. Later that year, as part of a commission from 3146:, "Notes on the Film Music of Takemitsu Tōru", 3102:The New Grove Dictionary of Music and Musicians 2977:The New Grove Dictionary of Music and Musicians 2642:"A Memoir of Tōru Takemitsu By Asaka Takemitsu" 2627:Untranslated. Tōru Takemitsu and Kenzaburo Oe, 2163:The New Grove Dictionary of Music and Musicians 2132: 2130: 2128: 2126: 2124: 2122: 2120: 2118: 2116: 1980:The New Grove Dictionary of Music and Musicians 1355:to the mountain villa where both this work and 1063:, a reconstruction from memory by Takemitsu of 271: 3571:"Tōru Takemitsu (biography, works, resources)" 2824:Music of Japan Today: Tradition and Innovation 2035:"The riotous inventiveness of Takehisa Kosugi" 2007: 2005: 1787: 1770: 1753: 1730: 1586:(1977, at in the score), and in the score of 406:One day I chanced to see a performance of the 265: 119: 4471: 4183: 3916: 3784: 3607: 2367:See Burt, 96 and Takemitsu, "Afterword", 212. 1499:for harp and tape written later in 1972). In 620:parts for international performers: flautist 551:, and orchestra, in the less well known work 8: 3024:, 2nd ser., vol. 33, no. 4 (June 1977), 934. 2330: 2328: 2326: 1810:(1990). Posthumously, Takemitsu received an 1649:shared the following in his program note to 4233: 3132:A Flock Descends Into the Pentagonal Garden 2822:Tradition in the Music of Toru Takemitsu", 1812:Honorary Doctorate from Columbia University 1630:try to extend his feelings with my music." 1584:A Flock Descends Into the Pentagonal Garden 1553:A Flock Descends Into the Pentagonal Garden 1429:A Flock Descends into the Pentagonal Garden 1263:, (see ex. 4). In 1977, Takemitsu reworked 1164:A Flock Descends into the Pentagonal Garden 908:plan his life, neither can he plan music". 811:and American popular song. (He revered the 780:A Flock Descends into the Pentagonal Garden 681:A Flock Descends into the Pentagonal Garden 670:A Flock Descends into the Pentagonal Garden 434:in his music, and even took up playing the 4478: 4464: 4456: 4190: 4176: 4168: 3923: 3909: 3901: 3791: 3777: 3769: 3756: 3614: 3600: 3592: 3480:Woodward, Roger (2014). "Toru Takemitsu". 3150:, vol. 21, iss. 4, 5–16 (London, 2002), 5. 2906: 2904: 2862: 2860: 2765:Buildings & Cities in Japanese History 1806:in 1986. He was the recipient of the 22nd 38: 20: 1821:early in 1996 and was awarded the fourth 1010:spelling of the same pitch class, with a 237:In 1948, Takemitsu conceived the idea of 3542:Slate article focusing on his film music 3086: 3084: 2524:, Vol. 21, Iss. 4, (December 2002), 1–3. 2516: 2514: 2340:, vol. 27, no. 2 (Summer 1989), 205–207. 2101: 2099: 1964: 1668:On the death of his friend, the pianist 319:in 1958 during his visit to Japan. (The 16:Japanese composer and writer (1930–1996) 4933: 2390: 2388: 2109:. Tokyo Opera City Cultural Foundation. 1962: 1960: 1958: 1956: 1954: 1952: 1950: 1948: 1946: 1944: 1925: 1310:, for example, was famously adorned by 950:Influence of traditional Japanese music 173: 3933:Grawemeyer Award for Music Composition 3194:The Ocean that has No West and No East 3177:Tessier, Max, "Takemitsu: Interview". 2470:Takemitsu, "Notes on November Steps", 2087:The Concise Oxford Dictionary of Music 2033:Erickson, Matthew (11 December 2015). 1708:Grawemeyer Award for Music Composition 1572: 1475: 868:List of compositions by Tōru Takemitsu 3005:Takemitsu, Tōru, "Dream and Number", 2912:Confronting Silence—Selected Writings 2382:, vol. 27, no. 2 (Summer, 1989), 217. 1083:or single pitch breathed through the 336:, (1966), which was premièred by the 128: 7: 5025:20th-century Japanese male musicians 4365:Miguel Miranda and José Tobar (2004) 2058:University of California at Berkeley 1166:, the characteristic timbres of the 133:; 8 October 1930 – 20 February 1996) 5050:Deaths from bladder cancer in Japan 3588:Classical 97, Chicago, 6 March 1990 3484:. HarperCollins. pp. 322-333. 3448:Robinson, Elizabeth A. (May 2011). 3394:Takemitsu à l'écoute de l'inaudible 2142:, vol. 27, no. 2, (Summer 1989), 3. 1716:Film Awards of the Japanese Academy 1651:The Ocean that has no East and West 508:In 1972, Takemitsu, accompanied by 5130:Japanese male television composers 5120:Japanese male film score composers 5035:Composers for the classical guitar 4487:Mainichi Film Award for Best Music 2618:. New York City, 21 February 1996. 2297:Oxford Concise Dictionary of Music 2107:"Toru Takemitsu Composition Award" 2014:"Toru Takemitsu, Artist Biography" 1137:. Standard chords produced by the 764:, to witness a large gathering of 748:His 1981 work for orchestra named 616:, Takemitsu incorporated into his 14: 5110:Japanese male classical composers 2244:"Early Electronic Music in Japan" 2052:Kaneda, Miki (20 December 2007). 1495:, the most notable example being 1346:Prélude à l'Après-midi d'un Faune 1026:Litany—In Memory of Michael Vyner 233:Early development and Jikken Kōbō 5115:Japanese male classical pianists 5020:20th-century Japanese guitarists 5005:20th-century classical composers 4972: 4960: 4948: 4936: 3742: 3741: 3731:Toru Takemitsu Composition Award 3703:From me flows what you call Time 3134:, (Editions Salabert, 1977), 20. 1661:were also there, as was cellist 1573:Problems playing this file? See 1558: 1476:Problems playing this file? See 1461: 1261:Technique de mon langage musical 1206:Technique de mon langage musical 1037: 698:Later works: the sea of tonality 432:traditional Japanese instruments 178:Toru Takemitsu Composition Award 5015:20th-century Japanese composers 5010:20th-century classical pianists 2701:Takemitsu, "Nature and Music", 2672:Takemitsu, "Nature and Music", 2533:Takemitsu, "Dream and Number", 2334:Takemitsu, Tōru , "Afterword", 1367:, such as the prominent use of 1363:". Details of orchestration in 358:Concert for Piano and Orchestra 5055:Deaths from pneumonia in Japan 3521:Toru Takemitsu: Complete Works 3283:. Cambridge University Press. 2750:Takemitsu, Tōru, "One Sound", 2631:, Tokyo: Iwanami Shoten, 1990. 2286:no. 57, (Cambridge, 2003), 65. 1491:(and a very limited amount of 1240:modes of limited transposition 904:interested him in particular. 1: 5125:Japanese television composers 5105:Japanese film score composers 5100:Japanese electronic musicians 5090:Japanese classical guitarists 5070:Georges Delerue Award winners 4377:and Delphine Mantoulet (2006) 3582:Interview with Tōru Takemitsu 3547:Interview with Toru Takemitsu 3264:The Oxford Companion to Music 3221:Takemitsu, Tōru, "Foreword", 2961:Durand Cie Edition 1905: see 2592:Takemitsu, "Mirror and Egg", 1800:Ordre des Arts et des Lettres 1714:). In Japan, he received the 938:, for 21 players (1993), and 5085:Japanese classical composers 3527:"Complete Takemitsu Edition" 2559:(1982), quoted in Burt, 176. 2434:Takemitsu, "Afterword", 210. 372:Corona II for string(s) 288:techniques in such works as 5095:Japanese classical pianists 5060:Deutsche Grammophon artists 3800:Glenn Gould Prize laureates 3281:The Music of Toru Takemitsu 3249:, 23/i (Oxford: 2004), 130. 2950:Philip Jones Brass Ensemble 1798:was admitted to the French 1317:The Great Wave off Kanagawa 1252:Quartet for the End of Time 1200:. Comparison of ex.94 from 752:was inspired by a visit to 272: 201:in the Chinese province of 174:numerous awards and honours 5151: 5030:20th-century musicologists 4404:and Sacha Galperine (2011) 3721:Acousmatic-music composers 2778:Takemitsu, "One Sound", 4. 2213:Cambridge University Press 1594:, who pioneered it in his 1335:During the composition of 1014:direction across the tie. 898:traditional Japanese music 865: 679:(for orchestra, 1967) and 248:invented the method(s) of 130:[takeꜜmitsɯ̥toːɾɯ] 98: 5075:Glenn Gould Prize winners 4548:Matsunosuke Nozawa (1958) 4493: 4446:and Lena Esquenazi (2019) 4205: 3941: 3806: 3766: 3761:Awards for Tōru Takemitsu 3739: 3629: 3573:(in French and English). 3413:Contemporary Music Review 3331:Contemporary Music Review 3301:Perspectives of New Music 3225:, (California, 1995), vii 3148:Contemporary Music Review 2884:See for example Burt, 34. 2752:Contemporary Music Review 2571:; Retrieved 6 April 2013] 2522:Contemporary Music Review 2379:Perspectives of New Music 2337:Perspectives of New Music 2221:10.1017/S1355771804000093 2191:Quoted in Ohtake 1993, 3. 2139:Perspectives of New Music 1902:Perspectives of New Music 1896:10.1080/07494469400640021 1888:Contemporary Music Review 1874:Perspectives of New Music 1859:Perspectives of New Music 1788: 1771: 1754: 1731: 1640:Contemporary Music Review 1410:I Hear the Water Dreaming 1115:National Theatre of Japan 790:for guitar (1974), which 738:I Hear the Water Dreaming 491:was given in 1967, under 487:The first performance of 266: 120: 37: 30: 4545:Rokuzaemon Kineya (1958) 3500:; Gill, Dominic (1974). 3105:(2nd ed.). London: 2980:(2nd ed.). London: 2166:(2nd ed.). London: 1983:(2nd ed.). London: 1838:Takemitsu, Tōru (1995). 1705:University of Louisville 1117:to write a work for the 540:of a gamelan orchestra. 352:; but when the composer 340:, conducted by Copland. 3366:Ohtake, Noriko (1993). 2800:, (Paris, 1996), 67–68. 1804:Académie des Beaux-Arts 1638:In a memorial issue of 756:, off the coast of the 642:for solo flute (1971), 332:. For this he composed 326:Koussevitsky Foundation 273:"experimental workshop" 207:Western classical music 4833:Shigeomi Hasumi (2009) 4800:Kenichirō Isoda (2003) 4779:Kenichirō Isoda (2000) 4776:Haruyuki Suzuki (1999) 4719:Hiroaki Yoshino (1988) 4530:Chūji Kinoshita (1954) 4515:Shinichi Takata (1951) 4419:Boris Debackere (2014) 3695:A String Around Autumn 3482:Beyond Black and White 3425:10.1080/07494460216667 3343:10.1080/07494460216671 3212:Woodward, 322-333,586. 3033:Quoted in Anderson, i. 1545: 1448: 1423: 1301: 1222:Lento in Due Movimenti 1213: 1149: 1111: 1065:Lento in Due Movimenti 1045: 970: 832:Opéra National de Lyon 830:, commissioned by the 717: 708:Far Calls. Coming Far! 672:for orchestra (1977). 668:orchestra (1973), and 577: 482:Western staff notation 427: 416: 400: 391:Daisetz Teitaro Suzuki 338:San Francisco Symphony 282:Saegirarenai Kyūsoku I 193:Takemitsu was born in 4689:Jiang Dingxian (1982) 4638:Mitsuaki Kanno (1974) 4199:Georges Delerue Award 3459:Ball State University 3392:Kreidy, Ziad (2009). 1842:. Fallen Leaf Press. 1544: 1447: 1418: 1361:Après-midi d'un Faune 1296: 1196: 1189:Influence of Messiaen 1133: 1095: 1020: 957: 766:Australian indigenous 712: 594:Karlheinz Stockhausen 561: 448:New York Philharmonic 425: 404: 395: 367:Corona for pianist(s) 5065:Electronic composers 5045:Composers from Tokyo 4854:Gorō Yasukawa (2013) 3982:Krzysztof Penderecki 3632:List of compositions 3279:Burt, Peter (2001). 3107:Macmillan Publishers 2982:Macmillan Publishers 2555:Preface to score of 2303:(Oxford 2004), 722, 2252:Taylor & Francis 2242:Thom Holmes (2008), 2168:Macmillan Publishers 1985:Macmillan Publishers 1741:Fire Festival (film) 1282:Influence of Debussy 516:, and others, heard 502:Turangalîla Symphony 180:is named after him. 5040:Composers for piano 4710:Saeko Suzuki (1986) 4593:Seiichrō Uno (1967) 4422:Johnnie Burn (2015) 4398:Hong-jip Kim (2010) 4330:Simon Fisher Turner 4156:Aleksandra Vrebalov 3958:Harrison Birtwistle 3223:Confronting Silence 3181:, (Paris, 1978), 1. 3007:Confronting Silence 2934:Confronting Silence 2763:Day, Andrea, "Ma", 2703:Confronting Silence 2674:Confronting Silence 2594:Confronting Silence 2535:Confronting Silence 2472:Confronting Silence 2295:"Takemitsu, Toru", 1840:Confronting Silence 1817:8 July 2020 at the 1808:Suntory Music Award 1519:Aleatory techniques 1431:(1977; see ex. 5). 1276:Rain Tree Sketch II 940:Arc I & II 654:In an Autumn Garden 4747:Shigeru Umebayashi 4705:Shigeru Umebayashi 3946:Witold Lutosławski 3854:José Antonio Abreu 3192:"Peter Lieberson: 2835:on 8 February 2007 2829:"Steven Nuss 1992" 2690:London Sinfonietta 2615:The New York Times 2489:London Sinfonietta 1691:Awards and honours 1592:Witold Lutosławski 1588:Arc II: i Textures 1546: 1449: 1424: 1380:Quotation of Dream 1214: 1150: 1046: 1024:. Opening bars of 971: 932:Quotation of Dream 813:St Matthew Passion 800:St Matthew Passion 758:Northern Territory 567:was written after 428: 398:my own tradition. 211:Parlez-moi d'amour 4924: 4923: 4918: 4917: 4891:Keiichirō Shibuya 4729:Shin'ichirō Ikebe 4699:Shin'ichirō Ikebe 4672:Shin'ichirō Ikebe 4633:Yasushi Akutagawa 4525:Yasushi Akutagawa 4504:Hiroshi Yoshizawa 4453: 4452: 4438:Stuart A. Staples 4360:Zygmunt Konieczny 4306:Frédéric Devreese 4165: 4164: 4102:Michel van der Aa 4096:Esa-Pekka Salonen 4066:Sebastian Currier 3898: 3897: 3812:R. Murray Schafer 3753: 3752: 3468:on 9 October 2011 3403:978-2-296-07763-8 3260:"Takemitsu, Tōru" 3258:Burton, Anthony, 3198:(program notes). 3130:Takemitsu, Tōru, 3116:978-1-56159-239-5 2991:978-1-56159-239-5 2898:Koozin 1991, 125. 2741:Burt, 31 and 272. 2654:Koozin 1991, 124. 2452:Burt, 133 and 160 2309:978-0-19-860884-4 2261:978-0-415-95781-6 2177:978-1-56159-239-5 2083:"Takemitsu, Toru" 2064:on 2 October 2015 1994:978-1-56159-239-5 1823:Glenn Gould Prize 1802:in 1985, and the 1725:Empire of Passion 1563: 1466: 1341:November Steps II 1216:The influence of 1050:pentatonic scales 1042: 886:Arnold Schoenberg 826:and the director 689:November Steps II 614:Collegium Musicum 97: 96: 5142: 4977: 4976: 4975: 4965: 4964: 4963: 4953: 4952: 4951: 4941: 4940: 4939: 4932: 4864:Ryuichi Sakamoto 4771:Yōsuke Yamashita 4693:Ryuichi Sakamoto 4582:Toshiro Mayuzumi 4570:Toshiro Mayuzumi 4540:Toshiro Mayuzumi 4510:Toshiro Mayuzumi 4480: 4473: 4466: 4457: 4288:Rachid Bouchareb 4277: 4249: 4235: 4225: 4215: 4192: 4185: 4178: 4169: 4090:Louis Andriessen 4054:George Tsontakis 4036:Aaron Jay Kernis 4012:Simon Bainbridge 3925: 3918: 3911: 3902: 3884:Alanis Obomsawin 3793: 3786: 3779: 3770: 3757: 3745: 3744: 3714:Related articles 3616: 3609: 3602: 3593: 3578: 3538: 3533:. 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L'Harmattan. 3391: 3388: 3386:Further reading 3378: 3365: 3328: 3297: 3291: 3278: 3275: 3270: 3257: 3253: 3242: 3238: 3233: 3229: 3220: 3216: 3211: 3207: 3190: 3189: 3185: 3176: 3172: 3167: 3163: 3158: 3154: 3142: 3138: 3129: 3125: 3117: 3090: 3089: 3082: 3077: 3073: 3068: 3064: 3059: 3055: 3050: 3046: 3041: 3037: 3032: 3028: 3017: 3013: 3004: 3000: 2992: 2962: 2960: 2956: 2944: 2940: 2931: 2927: 2922: 2918: 2909: 2902: 2897: 2888: 2883: 2879: 2874: 2870: 2865: 2858: 2853: 2849: 2838: 2836: 2827: 2817: 2813: 2808: 2804: 2796:Poirer, Alain, 2795: 2791: 2786: 2782: 2777: 2773: 2762: 2758: 2749: 2745: 2740: 2736: 2731: 2727: 2722: 2718: 2713: 2709: 2700: 2696: 2686:Knussen, Oliver 2684: 2680: 2671: 2667: 2662: 2658: 2653: 2649: 2640: 2639: 2635: 2626: 2622: 2604: 2600: 2591: 2587: 2579: 2575: 2567: 2563: 2554: 2550: 2545: 2541: 2532: 2528: 2519: 2512: 2507: 2503: 2487:, performed by 2482: 2478: 2469: 2465: 2460: 2456: 2451: 2447: 2442: 2438: 2433: 2429: 2424: 2420: 2411: 2407: 2402: 2398: 2393: 2386: 2375: 2371: 2366: 2362: 2357: 2353: 2348: 2344: 2333: 2324: 2319: 2315: 2301:Michael Kennedy 2294: 2290: 2279: 2275: 2266: 2264: 2262: 2254:, p. 106, 2241: 2240: 2236: 2204:Organised Sound 2200: 2199: 2195: 2190: 2186: 2178: 2151: 2150: 2146: 2135: 2114: 2105: 2104: 2097: 2091:Michael Kennedy 2081: 2077: 2067: 2065: 2051: 2050: 2046: 2032: 2031: 2027: 2011: 2010: 2003: 1995: 1968: 1967: 1942: 1931: 1927: 1923: 1918: 1850: 1837: 1834: 1819:Wayback Machine 1785: 1768: 1751: 1728: 1712:Fantasma/Cantos 1693: 1678:Ananda Sukarlan 1647:Peter Lieberson 1636: 1610:Noboru Nakamura 1606: 1580: 1579: 1571: 1569: 1568: 1567: 1566: 1559: 1556: 1547: 1541: 1521: 1483: 1482: 1474: 1472: 1471: 1470: 1469: 1462: 1459: 1450: 1444: 1439: 1396: 1386:from Debussy's 1382:(1991), direct 1369:antique cymbals 1292:Arnold Whittall 1284: 1191: 1038: 952: 870: 864: 852: 700: 656: 630:Ursula Holliger 612:and the Zurich 582: 426:Takemitsu, 1961 346: 317:Igor Stravinsky 302:Kenji Mizoguchi 290:Relief Statique 276: 263: 235: 191: 186: 135:was a Japanese 125: 117: 112: 93: 76: 70: 66: 57: 51: 31: 26: 17: 12: 11: 5: 5148: 5146: 5138: 5137: 5132: 5127: 5122: 5117: 5112: 5107: 5102: 5097: 5092: 5087: 5082: 5077: 5072: 5067: 5062: 5057: 5052: 5047: 5042: 5037: 5032: 5027: 5022: 5017: 5012: 5007: 5002: 4997: 4987: 4986: 4982: 4981: 4969: 4957: 4945: 4922: 4921: 4916: 4915: 4913: 4912: 4906: 4900: 4897:Masaki Hayashi 4894: 4888: 4882: 4881:Hi'Spec (2018) 4879: 4878:Young-G (2017) 4876: 4873: 4867: 4861: 4855: 4852: 4849:Michiru Ōshima 4846: 4843:Hikaru Hayashi 4840: 4834: 4831: 4825: 4819: 4813: 4807: 4801: 4798: 4792: 4786: 4780: 4777: 4774: 4768: 4765:Michiru Ōshima 4762: 4756: 4750: 4744: 4738: 4732: 4726: 4720: 4717: 4711: 4708: 4702: 4696: 4690: 4687: 4684:Hikaru Hayashi 4681: 4675: 4669: 4663: 4660:Tōru Takemitsu 4657: 4651: 4645: 4642:Tōru Takemitsu 4639: 4636: 4630: 4627:Tōru Takemitsu 4624: 4618: 4615:Tōru Takemitsu 4612: 4606: 4603:Tōru Takemitsu 4600: 4594: 4591: 4588:Tōru Takemitsu 4585: 4579: 4576:Tōru Takemitsu 4573: 4567: 4564:Tōru Takemitsu 4561: 4555: 4552:Hikaru Hayashi 4549: 4546: 4543: 4537: 4531: 4528: 4522: 4516: 4513: 4507: 4501: 4498:Fumio Hayasaka 4494: 4491: 4490: 4485: 4483: 4482: 4475: 4468: 4460: 4451: 4450: 4448: 4447: 4441: 4435: 4429: 4423: 4420: 4417: 4411: 4405: 4399: 4396: 4390: 4387:Tolib Shakhidi 4384: 4378: 4372: 4366: 4363: 4357: 4351: 4348:Vladimír Godár 4345: 4339: 4336:Rachel Portman 4333: 4327: 4321: 4315: 4309: 4303: 4297: 4291: 4285: 4279: 4272:Michael Haneke 4269: 4266:Tōru Takemitsu 4263: 4257: 4251: 4237: 4227: 4217: 4206: 4203: 4202: 4197: 4195: 4194: 4187: 4180: 4172: 4163: 4162: 4160: 4159: 4153: 4147: 4141: 4135: 4129: 4123: 4117: 4111: 4105: 4099: 4093: 4087: 4081: 4075: 4069: 4063: 4057: 4051: 4045: 4042:Kaija Saariaho 4039: 4033: 4027: 4021: 4015: 4009: 4003: 3997: 3991: 3985: 3979: 3973: 3967: 3961: 3955: 3949: 3942: 3939: 3938: 3931: 3930: 3928: 3927: 3920: 3913: 3905: 3896: 3895: 3893: 3892: 3886: 3880: 3874: 3868: 3862: 3856: 3850: 3844: 3838: 3832: 3830:Tōru Takemitsu 3826: 3824:Oscar Peterson 3820: 3818:Yehudi Menuhin 3814: 3807: 3804: 3803: 3798: 3796: 3795: 3788: 3781: 3773: 3767: 3764: 3763: 3760: 3751: 3750: 3740: 3737: 3736: 3734: 3733: 3728: 3726:Music of Japan 3723: 3717: 3715: 3711: 3710: 3708: 3707: 3699: 3691: 3687:Toward the Sea 3683: 3675: 3671:November Steps 3667: 3659: 3651: 3642: 3640: 3636: 3635: 3630: 3627: 3626: 3623:Tōru Takemitsu 3621: 3619: 3618: 3611: 3604: 3596: 3590: 3589: 3579: 3567: 3561:Tōru Takemitsu 3558: 3552:Tōru Takemitsu 3549: 3544: 3539: 3523: 3516: 3515:External links 3513: 3512: 3511: 3494: 3490: 3478: 3445: 3408: 3402: 3387: 3384: 3383: 3382: 3376: 3363: 3326: 3314:10.2307/833071 3308:(1): 124–140. 3295: 3289: 3274: 3271: 3269: 3268: 3251: 3246:Music Analysis 3236: 3234:Burt, 277–280. 3227: 3214: 3205: 3183: 3170: 3161: 3152: 3144:Richie, Donald 3136: 3123: 3115: 3093:Sadie, Stanley 3080: 3071: 3062: 3060:Burt, 176–216. 3053: 3044: 3035: 3026: 3011: 2998: 2990: 2968:Sadie, Stanley 2954: 2938: 2925: 2916: 2900: 2886: 2877: 2868: 2866:Burt, 155–156. 2856: 2854:Burt, 173–174. 2847: 2811: 2809:Burt, 166–174. 2802: 2798:Tōru Takemitsu 2789: 2787:Burt, 160–161. 2780: 2771: 2756: 2743: 2734: 2725: 2716: 2707: 2694: 2678: 2665: 2656: 2647: 2633: 2620: 2598: 2585: 2573: 2569:jirikylian.com 2561: 2548: 2539: 2526: 2510: 2501: 2493:Oliver Knussen 2476: 2463: 2454: 2445: 2443:Burt, 132–133. 2436: 2427: 2425:Burt, 128–129. 2418: 2405: 2396: 2384: 2369: 2360: 2351: 2342: 2322: 2313: 2288: 2273: 2260: 2234: 2193: 2184: 2176: 2154:Sadie, Stanley 2144: 2112: 2095: 2075: 2044: 2025: 2001: 1993: 1971:Sadie, Stanley 1940: 1924: 1922: 1919: 1917: 1914: 1913: 1912: 1898: 1884: 1870: 1854: 1848: 1833: 1830: 1825:in fall 1996. 1795: 1794: 1777: 1760: 1743: 1737: 1692: 1689: 1670:Roger Woodward 1659:Oliver Knussen 1635: 1632: 1618:Akira Kurosawa 1605: 1602: 1597:Jeux vénitiens 1570: 1557: 1550: 1549: 1548: 1539: 1538: 1537: 1533:November Steps 1523:One aspect of 1520: 1517: 1473: 1460: 1453: 1452: 1451: 1442: 1441: 1440: 1438: 1433: 1401:Toward the Sea 1395: 1392: 1288:Claude Debussy 1283: 1280: 1190: 1187: 1035: 951: 948: 944:Oliver Knussen 936:Archipelago S. 915:November Steps 874:Claude Debussy 863: 860: 851: 848: 844:bladder cancer 754:Groote Eylandt 722:Toward the Sea 699: 696: 628:, and harpist 626:Heinz Holliger 622:Aurèle Nicolet 606:Vinko Globokar 581: 578: 573:November Steps 569:November Steps 557:November Steps 534:Roger Woodward 510:Iannis Xenakis 489:November Steps 453:November Steps 345: 342: 334:Dorian Horizon 306:Akira Kurosawa 298:Fumio Hayasaka 286:tape-recording 234: 231: 190: 187: 185: 182: 139:and writer on 115:Tōru Takemitsu 95: 94: 92: 91: 88: 84: 82: 78: 77: 71: 69:(aged 65) 63: 59: 58: 52: 50:8 October 1930 48: 44: 43: 35: 34: 28: 27: 25:Tōru Takemitsu 24: 15: 13: 10: 9: 6: 4: 3: 2: 5147: 5136: 5133: 5131: 5128: 5126: 5123: 5121: 5118: 5116: 5113: 5111: 5108: 5106: 5103: 5101: 5098: 5096: 5093: 5091: 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4126:Bent Sørensen 4124: 4121: 4120:Andrew Norman 4118: 4115: 4112: 4109: 4108:Đuro Živković 4106: 4103: 4100: 4097: 4094: 4091: 4088: 4085: 4082: 4079: 4076: 4073: 4070: 4067: 4064: 4061: 4060:György Kurtág 4058: 4055: 4052: 4049: 4046: 4043: 4040: 4037: 4034: 4031: 4030:Pierre Boulez 4028: 4025: 4022: 4019: 4016: 4013: 4010: 4007: 4004: 4001: 3998: 3995: 3992: 3989: 3986: 3983: 3980: 3977: 3974: 3971: 3968: 3965: 3962: 3959: 3956: 3953: 3952:György Ligeti 3950: 3947: 3944: 3943: 3940: 3934: 3926: 3921: 3919: 3914: 3912: 3907: 3906: 3903: 3891: 3887: 3885: 3881: 3879: 3878:Jessye Norman 3875: 3873: 3869: 3867: 3866:Robert Lepage 3863: 3861: 3860:Leonard Cohen 3857: 3855: 3851: 3849: 3845: 3843: 3842:Pierre Boulez 3839: 3837: 3833: 3831: 3827: 3825: 3821: 3819: 3815: 3813: 3809: 3808: 3805: 3801: 3794: 3789: 3787: 3782: 3780: 3775: 3774: 3771: 3765: 3758: 3748: 3738: 3732: 3729: 3727: 3724: 3722: 3719: 3718: 3716: 3712: 3705: 3704: 3700: 3697: 3696: 3692: 3689: 3688: 3684: 3681: 3680: 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3072: 3066: 3063: 3057: 3054: 3051:Knussen, 5–6. 3048: 3045: 3039: 3036: 3030: 3027: 3023: 3022: 3015: 3012: 3008: 3002: 2999: 2993: 2987: 2983: 2979: 2978: 2973: 2972:Tyrrell, John 2969: 2965: 2958: 2955: 2951: 2947: 2942: 2939: 2935: 2929: 2926: 2920: 2917: 2913: 2907: 2905: 2901: 2895: 2893: 2891: 2887: 2881: 2878: 2872: 2869: 2863: 2861: 2857: 2851: 2848: 2834: 2830: 2825: 2821: 2815: 2812: 2806: 2803: 2799: 2793: 2790: 2784: 2781: 2775: 2772: 2769: 2766: 2760: 2757: 2753: 2747: 2744: 2738: 2735: 2729: 2726: 2720: 2717: 2711: 2708: 2704: 2698: 2695: 2691: 2687: 2682: 2679: 2675: 2669: 2666: 2660: 2657: 2651: 2648: 2643: 2637: 2634: 2630: 2624: 2621: 2617: 2616: 2611: 2607: 2606:Kozinn, Allan 2602: 2599: 2595: 2589: 2586: 2583: 2577: 2574: 2570: 2565: 2562: 2558: 2552: 2549: 2543: 2540: 2536: 2530: 2527: 2523: 2517: 2515: 2511: 2508:Burt, 118–124 2505: 2502: 2498: 2494: 2490: 2486: 2480: 2477: 2473: 2467: 2464: 2458: 2455: 2449: 2446: 2440: 2437: 2431: 2428: 2422: 2419: 2415: 2409: 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DECCA. 3099:(eds.). 2974:(eds.). 2936:, 36–38. 2416:, 69–70. 2229:62553919 2160:(eds.). 2019:AllMusic 1977:(eds.). 1832:Writings 1815:Archived 1408:, 1982; 1404:, 1981; 1328:through 1265:Quatrain 1257:Quatrain 1210:Quatrain 1125:Shuteiga 1030:i Adagio 963:Masque I 934:(1991), 734:riverrun 732:(1982), 724:(1981), 648:Quatrain 586:Expo '70 530:For Away 518:Balinese 497:Messiaen 412:shamisen 364:(1961), 221:was the 203:Liaoning 176:and the 162:academia 137:composer 99:In this 87:Composer 4929:Portals 4402:Evgueni 4342:Tan Dun 4018:Tan Dun 3663:Eclipse 3655:Valeria 3472:28 July 3273:Sources 3196:(1997)" 3179:Cinejap 2414:Mirrors 2089:, eds. 1782:Sharaku 1506:tsuzumi 1394:Motives 1330:Berlioz 1312:Hokusai 1075:scale. 967:Continu 706:in his 526:kapachi 521:gamelan 469:Eclipse 443:Seppuku 408:Bunraku 313:Requiem 169:Requiem 105:surname 75:, Japan 56:, Japan 4911:(2023) 4905:(2022) 4899:(2021) 4893:(2020) 4887:(2019) 4872:(2016) 4866:(2015) 4860:(2014) 4851:(2012) 4845:(2011) 4839:(2010) 4830:(2008) 4824:(2007) 4818:(2006) 4812:(2005) 4806:(2004) 4797:(2002) 4791:(2001) 4785:(2001) 4773:(1998) 4767:(1997) 4761:(1996) 4755:(1995) 4749:(1994) 4743:(1993) 4731:(1990) 4725:(1989) 4716:(1987) 4707:(1985) 4701:(1984) 4695:(1983) 4686:(1982) 4680:(1981) 4674:(1980) 4668:(1979) 4662:(1978) 4656:(1977) 4650:(1976) 4644:(1975) 4635:(1974) 4629:(1973) 4623:(1972) 4617:(1971) 4611:(1970) 4605:(1969) 4599:(1968) 4590:(1966) 4584:(1965) 4578:(1964) 4572:(1963) 4560:(1960) 4554:(1959) 4542:(1957) 4536:(1956) 4527:(1953) 4521:(1952) 4512:(1950) 4506:(1950) 4440:(2018) 4434:(2017) 4428:(2016) 4416:(2013) 4410:(2012) 4395:(2009) 4389:(2008) 4383:(2007) 4371:(2005) 4362:(2003) 4356:(2002) 4350:(2001) 4344:(2000) 4338:(1999) 4332:(1998) 4326:(1997) 4320:(1996) 4314:(1995) 4308:(1994) 4302:(1993) 4296:(1992) 4290:(1991) 4284:(1990) 4268:(1989) 4262:(1988) 4256:(1987) 4158:(2024) 4152:(2023) 4146:(2022) 4140:(2021) 4134:(2019) 4128:(2018) 4122:(2017) 4116:(2016) 4110:(2014) 4104:(2013) 4098:(2012) 4092:(2011) 4086:(2010) 4080:(2009) 4074:(2008) 4068:(2007) 4062:(2006) 4056:(2005) 4050:(2004) 4044:(2003) 4038:(2002) 4032:(2001) 4026:(2000) 4020:(1998) 4014:(1997) 4008:(1996) 4002:(1995) 3996:(1994) 3990:(1993) 3984:(1992) 3978:(1991) 3972:(1990) 3966:(1989) 3960:(1987) 3954:(1986) 3948:(1985) 3706:(1990) 3698:(1989) 3690:(1981) 3682:(1971) 3674:(1967) 3666:(1966) 3658:(1965) 3650:(1962) 3647:Corona 3488: 3439: 3431: 3400: 3374: 3357: 3349: 3322:833071 3320: 3287: 3113: 3009:, 110. 2988: 2839:2 June 2820:Gagaku 2582:p. 153 2580:Burt, 2537:, 112. 2307: 2299:, ed. 2267:4 June 2258: 2227: 2174: 2041:(176). 2039:Frieze 1991: 1910:833410 1908: 1882:833284 1880: 1868:833411 1866: 1846: 1634:Legacy 1388:La Mer 1371:, and 1322:Rameau 1307:La mer 1212:(1975) 1183:gagaku 1146:gagaku 1120:gagaku 1105:, the 1054:Litany 979:Kakehi 888:, and 803:, and 792:quotes 788:Folios 704:motive 666:gagaku 604:, and 565:Autumn 553:Autumn 199:Dalian 149:timbre 103:, the 90:Writer 4979:Music 4955:Japan 3679:Voice 3639:Works 3575:IRCAM 3507:(PDF) 3466:(PDF) 3455:(PDF) 3437:S2CID 3355:S2CID 3318:JSTOR 3021:Notes 2283:Tempo 2225:S2CID 2211:(1). 1935:Notes 1906:JSTOR 1878:JSTOR 1864:JSTOR 1779:1996 1765:Rikyu 1762:1990 1745:1986 1739:1985 1722:1979 1365:Green 1337:Green 1326:Lully 1236:modes 1173:shō's 994:insen 988:ritsu 862:Music 794:from 782:. 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