Tōru Takemitsu - Knowledge

1138:("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. 434: 1553: 1456: 702:) 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. 1205: 3754: 1142: 694:(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, 1684:"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." 1601:(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 4961: 966: 4949: 4985: 4973: 506:. 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 797:, (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, 1270:, 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 953:(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 430:

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.

1029: 216:. 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 1089:

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

291:: 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 1284:

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.

371:. 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 1653:, 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." 985:'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. 1514:(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 396:—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 535:

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

1623:). 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. 1173:(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 1008:

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

1676:. 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." 335:"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 1573: 646:

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

1257:, (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. 1181:

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

425:, 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. 1098:, 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 1476: 1249:, 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 1052: 922:

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

1637:, 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". 1401:

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.

491:(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 1619:

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

1331:). 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 1409:

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.

1572: 1474: 1050: 980:, 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. 1266:

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,

392:, 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 385:(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". 4488: 1475: 1051: 607:. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants 539:, 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 5090: 3933: 1043:, 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 3460: 1104:(usually translated as the space between two objects), which ultimately informed his understanding of the intense quality of traditional Japanese music as a whole: 566:(1973). The significance of this work is revealed in its far greater integration of the traditional Japanese instruments into the orchestral discourse; whereas in 988:

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."

570:, the two contrasting instrumental ensembles perform largely in alternation, with only a few moments of contact. Takemitsu expressed this change in attitude: 255:, 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 3801: 664: 1825: 1664:, 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. 1546:, in which musicians playing traditional Japanese instruments were able to play in an orchestral setting with a certain degree of improvisational freedom. 1354:, 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 907:, and remained a lifelong influence. Although Takemitsu's wartime experiences of nationalism initially discouraged him from cultivating an interest in 165:

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

941:, with a conventional Western orchestra. It may also be discerned in his works for ensembles that make no use of traditional instruments, for example 3270: 2093: 4907: 4481: 4200: 3112: 2987: 2173: 1990: 1356: 2072: 4142: 295:("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic 5035: 3926: 1260:

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

1542:, in which performers are given a degree of choice in what to perform. As mentioned previously, this was particularly used in works such as 162:. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. 5060: 686:

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

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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

2003: 1112:, an unquantifiable metaphysical space (duration) of dynamically tensed absence of sound. For example, in the performance of 5105: 5070: 3787: 2212:

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

1289:, which was to be Takemitsu's final piano piece, was also written that year and subtitled "In Memoriam Olivier Messiaen". 5040: 4193: 3473: 3462:

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

224:") which he listened to with colleagues in secret, played on a gramophone with a makeshift needle fashioned from bamboo. 911:, he showed an early interest in "... the Japanese Garden in color spacing and form ...". The formal garden of the 5085: 4497: 3731: 3500: 3386: 3299: 1858: 1465: 3537: 413:

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).

1433:. Various examples of Takemitsu's S–E–A motive, derived from the German spelling of the notes E♭, E, A ("Es–E–A") 3617: 1822: 1167:(1974, for brass ensemble), the limited and pitch-specific harmonic vocabulary of the Japanese mouth organ, the 1082:. The pitches of the opening melody combine to form the constituent notes of the ascending form of the Japanese 4186: 2311: 2101: 1250: 17: 5075: 5055: 826:, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".) 5050: 2652: 1231:

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

1538:'s compositional procedure that Takemitsu continued to use throughout his career, was the use of 845:

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.

171:(Experimental Workshop) in Japan, a group of avant-garde artists who distanced themselves from 2254: 1496:

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

957:, "... creates the illusion that the instrumental restrictions are self-imposed". 892: 4769: 4763: 4724: 4631: 4619: 4418: 4391: 4379: 4310: 4270: 4250: 4230: 4160: 4124: 4082: 4016: 3986: 3900: 3031: 2956: 2293: 2214: 1945: 1829: 1688: 1657: 1620: 1379: 1302: 640: 327: 312: 217: 3858: 64: 4853: 4694: 4562: 4508: 4397: 4346: 4282: 4052: 3834: 3828: 3736: 3697: 3681: 3596: 3531: 3508: 2696: 2503: 1792: 1680: 1669: 1628: 1411: 1340: 1298: 1245:), and the influence of Messiaen is clearly visible in the work, in the use of 954: 925: 884: 854: 764: 636: 616: 544: 520: 463: 316: 308: 4264: 4094: 4034: 3779: 2829:

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:

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

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

1235:, (1950), Takemitsu had already come into possession of a copy of Messiaen's 1070: 838: 834: 819: 714: 492: 340: 296: 237: 111: 83: 3766: 3592: 2117: 1063:, continued to crop up elsewhere in his early works. In the opening bars of 354: 326:

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

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

4989: 4965: 4832: 4826: 4805: 4799: 4793: 4745: 4436: 4364: 3882: 3435: 3353: 2616: 1775: 1665: 1246: 1028: 1013:(for two flutes, 1959), which mirror the characteristic pitch bends of the 888: 866: 548: 393: 155: 4733: 4913: 4751: 4688: 4676: 4664: 4607: 4568: 4385: 4254: 3974: 3566: 3545: 2045: 1695: 1673: 1141: 1059:

Other Japanese characteristics, including the further use of traditional

1004: 849:, but he was prevented from completing it by his death at 65. He died of 818:

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

786: 620: 596: 524: 503: 4178: 2925:, trans./ed. Yoshiko Kakudo and Glen Glasgow, (Berkeley, 1995), 139–141. 1883:

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

883:

Composers whom Takemitsu cited as influential in his early work include

603:, he was at last able to meet more of his Western colleagues, including 322:

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

4088: 4058: 3998: 3980: 3571: 3541: 1758: 1633: 1585: 1488: 1426: 1022: 1018: 965: 931: 608: 473: 461:, to commemorate the orchestra's 125th anniversary, for which he wrote 151: 3332: 1920: 1892: 1878: 590: 265:

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

4658: 4454: 4442: 4424: 4240: 4148: 2507: 1535: 1254: 1188: 1079: 850: 772: 360: 319:, the latter of whom Takemitsu would collaborate with decades later. 3941: 3254:

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

554:

A year later, Takemitsu returned to the instrumental combination of

307:(1956). Takemitsu also studied in the early 1950s with the composer 4895: 4880: 4334: 3846: 3324: 2029: 1867:

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

1539: 507: 422: 213: 172: 147: 3552: 2065:"Electroacoustic Music in Japan: The Persistence of the DIY Model" 903:. Messiaen in particular was introduced to him by fellow composer 4352: 4028: 3602: 2977:(2001). "Debussy, Claude, §6: Debussy and currents of ideas". In 2259:

Electronic and experimental music: technology, music, and culture

1980:

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

1516: 1322: 1090:

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

713:

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

531: 418: 115: 1873:, vol. 27, no. 2 (Summer, 1989), 205–214, (subscription access) 731:

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

50: 2765:

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

1915:, vol. 27, no. 2 (Summer, 1989), 198–204 (subscription access) 1156: 1130: 992:("Conduit"), written at the age of seventeen, incorporates the 339:

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

209: 159: 3422:

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

2921:

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

1901:, vol. 8, part 2, (Harwood, 1994), 3–4, (subscription access) 1887:, vol. 30, no. 1 (Winter, 1992), 36–80, (subscription access) 1278:

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

268:

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

3585: 1301:, referring to the French composer as his "great mentor". As 1253:

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

600: 205: 2531:

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

1522: 2703:/Oliver Knussen, Deutsche Grammophon: Echo 20/21 453 495–2. 1362: 937: 528: 447: 1154:, mouth organ of the traditional Japanese court ensemble, 960: 457:(1962). In 1967, Takemitsu received a commission from the 311:, perhaps best known for the scores he wrote for films by 582:. I really wanted to do something which I hadn't done in 355:

Influence of Cage; interest in traditional Japanese music

331: 2963:, Deutsche Grammophon: Echo 20/21 Series 00289 477 5382. 1897:

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

657:

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

1047:

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

586:, not to blend the instruments, but to integrate them. 4496: 2959:, Liner notes to Takemitsu: Garden Rain, performed by 751:(1987). Takemitsu wrote in his notes for the score of 4937: 2837:, (lecture transcribed by E. Michael Richards, 1992) 441:

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

208:

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

2778:, Columbia University Website, accessed 31 May 2007 853:

on 20 February 1996, while undergoing treatment for

243: 1297:Takemitsu frequently expressed his indebtedness to 708: 591:

International status and the gradual shift in style

4234: 1219:and one of the principal motives from Takemitsu's 1124:In 1970, Takemitsu received a commission from the 4286: 4258: 2905: 2903: 2901: 2494:Anderson, Julian, liner notes to Toru Takemitsu, 929:, that combine traditional Japanese instruments, 451:—an instrument he used in his score for the film 5091:International Rostrum of Composers prize-winners 4997: 4224: 3379:Creative sources for the Music of Toru Takemitsu 2147:Takemitsu, Tōru, "Contemporary Music in Japan", 1979: 1911:Takemitsu, Tōru, "Contemporary Music in Japan", 619:. Later that year, as part of a commission from 3809: 3157:, "Notes on the Film Music of Takemitsu Tōru", 3113:The New Grove Dictionary of Music and Musicians 2988:The New Grove Dictionary of Music and Musicians 2653:"A Memoir of Tōru Takemitsu By Asaka Takemitsu" 2638:Untranslated. Tōru Takemitsu and Kenzaburo Oe, 2174:The New Grove Dictionary of Music and Musicians 2143: 2141: 2139: 2137: 2135: 2133: 2131: 2129: 2127: 1991:The New Grove Dictionary of Music and Musicians 1366:to the mountain villa where both this work and 1074:, a reconstruction from memory by Takemitsu of 282: 3582:"Tōru Takemitsu (biography, works, resources)" 2898: 2835:Music of Japan Today: Tradition and Innovation 2046:"The riotous inventiveness of Takehisa Kosugi" 2018: 2016: 1798: 1781: 1764: 1741: 1597:(1977, at in the score), and in the score of 417:One day I chanced to see a performance of the 276: 130: 4482: 4194: 3927: 3795: 3771: 3618: 3507: 2378:See Burt, 96 and Takemitsu, "Afterword", 212. 2285: 1510:for harp and tape written later in 1972). In 631:parts for international performers: flautist 562:, and orchestra, in the less well known work 3035:, 2nd ser., vol. 33, no. 4 (June 1977), 934. 2341: 2339: 2337: 2124: 1821:(1990). Posthumously, Takemitsu received an 1660:shared the following in his program note to 4244: 3143:A Flock Descends Into the Pentagonal Garden 2833:Tradition in the Music of Toru Takemitsu", 2252: 2013: 1823:Honorary Doctorate from Columbia University 1641:try to extend his feelings with my music." 1595:A Flock Descends Into the Pentagonal Garden 1564:A Flock Descends Into the Pentagonal Garden 1440:A Flock Descends into the Pentagonal Garden 1274:, (see ex. 4). In 1977, Takemitsu reworked 1175:A Flock Descends into the Pentagonal Garden 919:plan his life, neither can he plan music". 822:and American popular song. (He revered the 791:A Flock Descends into the Pentagonal Garden 692:A Flock Descends into the Pentagonal Garden 681:A Flock Descends into the Pentagonal Garden 445:in his music, and even took up playing the 4489: 4475: 4201: 4187: 3934: 3920: 3802: 3788: 3625: 3611: 3491:Woodward, Roger (2014). "Toru Takemitsu". 3161:, vol. 21, iss. 4, 5–16 (London, 2002), 5. 2917: 2915: 2873: 2871: 2776:Buildings & Cities in Japanese History 1817:in 1986. He was the recipient of the 22nd 49: 4208: 2334: 1832:early in 1996 and was awarded the fourth 1021:spelling of the same pitch class, with a 248:In 1948, Takemitsu conceived the idea of 3553:Slate article focusing on his film music 3097: 3095: 2535:, Vol. 21, Iss. 4, (December 2002), 1–3. 2527: 2525: 2351:, vol. 27, no. 2 (Summer 1989), 205–207. 2162: 2112: 2110: 2043: 1975: 1679:On the death of his friend, the pianist 1425: 1203: 1199: 1140: 1027: 964: 432: 330:in 1958 during his visit to Japan. (The 27:Japanese composer and writer (1930–1996) 2912: 2868: 2401: 2399: 2120:. Tokyo Opera City Cultural Foundation. 1973: 1971: 1969: 1967: 1965: 1963: 1961: 1959: 1957: 1955: 1321:, for example, was famously adorned by 1292: 961:Influence of traditional Japanese music 184: 14: 4998: 3944:Grawemeyer Award for Music Composition 3376: 3339: 3308: 3205:The Ocean that has No West and No East 3188:Tessier, Max, "Takemitsu: Interview". 2973: 2481:Takemitsu, "Notes on November Steps", 2098:The Concise Oxford Dictionary of Music 2062: 2044:Erickson, Matthew (11 December 2015). 1719:Grawemeyer Award for Music Composition 1529: 879:List of compositions by Tōru Takemitsu 4470: 4182: 3915: 3783: 3770: 3606: 3092: 3016:Takemitsu, Tōru, "Dream and Number", 2923:Confronting Silence—Selected Writings 2522: 2393:, vol. 27, no. 2 (Summer, 1989), 217. 2211: 2107: 1701: 1094:or single pitch breathed through the 347:, (1966), which was premièred by the 139: 5036:20th-century Japanese male musicians 4376:Miguel Miranda and José Tobar (2004) 3289: 2396: 2069:University of California at Berkeley 1952: 1177:, the characteristic timbres of the 144:; 8 October 1930 – 20 February 1996) 5061:Deaths from bladder cancer in Japan 3599:Classical 97, Chicago, 6 March 1990 3495:. HarperCollins. pp. 322-333. 3459:Robinson, Elizabeth A. (May 2011). 3405:Takemitsu à l'écoute de l'inaudible 3101: 2153:, vol. 27, no. 2, (Summer 1989), 3. 1727:Film Awards of the Japanese Academy 1662:The Ocean that has no East and West 1445: 519:In 1972, Takemitsu, accompanied by 24: 5141:Japanese male television composers 5131:Japanese male film score composers 5046:Composers for the classical guitar 4498:Mainichi Film Award for Best Music 3632: 3396: 2629:. New York City, 21 February 1996. 2308:Oxford Concise Dictionary of Music 2118:"Toru Takemitsu Composition Award" 2025:"Toru Takemitsu, Artist Biography" 2022: 1551: 1454: 1148:. Standard chords produced by the 775:, to witness a large gathering of 759:His 1981 work for orchestra named 627:, Takemitsu incorporated into his 25: 5157: 5121:Japanese male classical composers 3525: 2255:"Early Electronic Music in Japan" 2063:Kaneda, Miki (20 December 2007). 1506:, the most notable example being 1357:Prélude à l'Après-midi d'un Faune 1037:Litany—In Memory of Michael Vyner 244:Early development and Jikken Kōbō 5126:Japanese male classical pianists 5031:20th-century Japanese guitarists 5016:20th-century classical composers 4983: 4971: 4959: 4947: 3753: 3752: 3742:Toru Takemitsu Composition Award 3714:From me flows what you call Time 3145:, (Editions Salabert, 1977), 20. 1672:were also there, as was cellist 1584:Problems playing this file? See 1569: 1487:Problems playing this file? See 1472: 1272:Technique de mon langage musical 1217:Technique de mon langage musical 1048: 860: 709:Later works: the sea of tonality 443:traditional Japanese instruments 189:Toru Takemitsu Composition Award 5026:20th-century Japanese composers 5021:20th-century classical pianists 3263: 3248: 3239: 3226: 3217: 3195: 3182: 3173: 3164: 3148: 3135: 3083: 3074: 3065: 3056: 3047: 3038: 3023: 3010: 2966: 2950: 2937: 2928: 2889: 2880: 2859: 2823: 2814: 2801: 2792: 2783: 2768: 2755: 2746: 2737: 2728: 2719: 2712:Takemitsu, "Nature and Music", 2706: 2690: 2683:Takemitsu, "Nature and Music", 2677: 2668: 2659: 2645: 2632: 2610: 2597: 2585: 2573: 2560: 2551: 2544:Takemitsu, "Dream and Number", 2538: 2513: 2488: 2475: 2466: 2457: 2448: 2439: 2430: 2417: 2408: 2381: 2372: 2363: 2354: 2345:Takemitsu, Tōru , "Afterword", 2325: 2300: 2246: 2205: 2196: 1378:, such as the prominent use of 1374:". Details of orchestration in 369:Concert for Piano and Orchestra 5066:Deaths from pneumonia in Japan 3532:Toru Takemitsu: Complete Works 3294:. Cambridge University Press. 2761:Takemitsu, Tōru, "One Sound", 2642:, Tokyo: Iwanami Shoten, 1990. 2297:no. 57, (Cambridge, 2003), 65. 2156: 2087: 2056: 2037: 1937: 1502:(and a very limited amount of 1251:modes of limited transposition 915:interested him in particular. 13: 1: 5136:Japanese television composers 5116:Japanese film score composers 5111:Japanese electronic musicians 5101:Japanese classical guitarists 5081:Georges Delerue Award winners 4388:and Delphine Mantoulet (2006) 3593:Interview with Tōru Takemitsu 3558:Interview with Toru Takemitsu 3275:The Oxford Companion to Music 3232:Takemitsu, Tōru, "Foreword", 2972:Durand Cie Edition 1905: see 2603:Takemitsu, "Mirror and Egg", 1926: 1811:Ordre des Arts et des Lettres 1725:). In Japan, he received the 1614: 949:, for 21 players (1993), and 5096:Japanese classical composers 3538:"Complete Takemitsu Edition" 2570:(1982), quoted in Burt, 176. 2445:Takemitsu, "Afterword", 210. 1931: 383:Corona II for string(s) 299:techniques in such works as 194: 7: 5106:Japanese classical pianists 5071:Deutsche Grammophon artists 3811:Glenn Gould Prize laureates 3292:The Music of Toru Takemitsu 3260:, 23/i (Oxford: 2004), 130. 2961:Philip Jones Brass Ensemble 1842: 1809:was admitted to the French 1328:The Great Wave off Kanagawa 1263:Quartet for the End of Time 1211:. Comparison of ex.94 from 763:was inspired by a visit to 283: 212:in the Chinese province of 185:numerous awards and honours 10: 5162: 5041:20th-century musicologists 4415:and Sacha Galperine (2011) 3732:Acousmatic-music composers 3283: 2789:Takemitsu, "One Sound", 4. 2224:Cambridge University Press 1605:, who pioneered it in his 1404: 1346:During the composition of 1025:direction across the tie. 909:traditional Japanese music 876: 690:(for orchestra, 1967) and 259:invented the method(s) of 141:[takeꜜmitsɯ̥toːɾɯ] 109: 5086:Glenn Gould Prize winners 4559:Matsunosuke Nozawa (1958) 4504: 4457:and Lena Esquenazi (2019) 4216: 3952: 3817: 3777: 3772:Awards for Tōru Takemitsu 3750: 3724: 3649: 3640: 3584:(in French and English). 3424:Contemporary Music Review 3342:Contemporary Music Review 3312:Perspectives of New Music 3236:, (California, 1995), vii 3159:Contemporary Music Review 2895:See for example Burt, 34. 2763:Contemporary Music Review 2582:; Retrieved 6 April 2013] 2533:Contemporary Music Review 2390:Perspectives of New Music 2348:Perspectives of New Music 2232:10.1017/S1355771804000093 2202:Quoted in Ohtake 1993, 3. 2150:Perspectives of New Music 1913:Perspectives of New Music 1907:10.1080/07494469400640021 1899:Contemporary Music Review 1885:Perspectives of New Music 1870:Perspectives of New Music 1799: 1782: 1765: 1742: 1651:Contemporary Music Review 1644: 1421:I Hear the Water Dreaming 1126:National Theatre of Japan 801:for guitar (1974), which 749:I Hear the Water Dreaming 502:was given in 1967, under 498:The first performance of 277: 131: 91: 72: 57: 48: 41: 34: 4556:Rokuzaemon Kineya (1958) 3511:; Gill, Dominic (1974). 3116:(2nd ed.). London: 2991:(2nd ed.). London: 2177:(2nd ed.). London: 1994:(2nd ed.). London: 1849:Takemitsu, Tōru (1995). 1716:University of Louisville 1128:to write a work for the 872: 551:of a gamelan orchestra. 363:; but when the composer 351:, conducted by Copland. 199: 3377:Ohtake, Noriko (1993). 2811:, (Paris, 1996), 67–68. 1815:Académie des Beaux-Arts 1649:In a memorial issue of 767:, off the coast of the 653:for solo flute (1971), 343:. For this he composed 337:Koussevitsky Foundation 284:"experimental workshop" 218:Western classical music 4844:Shigeomi Hasumi (2009) 4811:Kenichirō Isoda (2003) 4790:Kenichirō Isoda (2000) 4787:Haruyuki Suzuki (1999) 4730:Hiroaki Yoshino (1988) 4541:Chūji Kinoshita (1954) 4526:Shinichi Takata (1951) 4430:Boris Debackere (2014) 3706:A String Around Autumn 3493:Beyond Black and White 3436:10.1080/07494460216667 3354:10.1080/07494460216671 3223:Woodward, 322-333,586. 3044:Quoted in Anderson, i. 1556: 1459: 1434: 1312: 1233:Lento in Due Movimenti 1224: 1160: 1122: 1076:Lento in Due Movimenti 1056: 981: 843:Opéra National de Lyon 841:, commissioned by the 728: 719:Far Calls. Coming Far! 683:for orchestra (1977). 679:orchestra (1973), and 588: 493:Western staff notation 438: 427: 411: 402:Daisetz Teitaro Suzuki 349:San Francisco Symphony 293:Saegirarenai Kyūsoku I 204:Takemitsu was born in 4700:Jiang Dingxian (1982) 4649:Mitsuaki Kanno (1974) 4210:Georges Delerue Award 3470:Ball State University 3403:Kreidy, Ziad (2009). 1853:. Fallen Leaf Press. 1555: 1458: 1429: 1372:Après-midi d'un Faune 1307: 1207: 1200:Influence of Messiaen 1144: 1106: 1031: 968: 777:Australian indigenous 723: 605:Karlheinz Stockhausen 572: 459:New York Philharmonic 436: 415: 406: 378:Corona for pianist(s) 5076:Electronic composers 5056:Composers from Tokyo 4865:Gorō Yasukawa (2013) 3993:Krzysztof Penderecki 3643:List of compositions 3290:Burt, Peter (2001). 3118:Macmillan Publishers 2993:Macmillan Publishers 2566:Preface to score of 2314:(Oxford 2004), 722, 2263:Taylor & Francis 2253:Thom Holmes (2008), 2179:Macmillan Publishers 1996:Macmillan Publishers 1752:Fire Festival (film) 1293:Influence of Debussy 527:, and others, heard 513:Turangalîla Symphony 191:is named after him. 5051:Composers for piano 4721:Saeko Suzuki (1986) 4604:Seiichrō Uno (1967) 4433:Johnnie Burn (2015) 4409:Hong-jip Kim (2010) 4341:Simon Fisher Turner 4167:Aleksandra Vrebalov 3969:Harrison Birtwistle 3234:Confronting Silence 3192:, (Paris, 1978), 1. 3018:Confronting Silence 2945:Confronting Silence 2774:Day, Andrea, "Ma", 2714:Confronting Silence 2685:Confronting Silence 2605:Confronting Silence 2546:Confronting Silence 2483:Confronting Silence 2306:"Takemitsu, Toru", 1851:Confronting Silence 1828:8 July 2020 at the 1819:Suntory Music Award 1530:Aleatory techniques 1442:(1977; see ex. 5). 1287:Rain Tree Sketch II 951:Arc I & II 665:In an Autumn Garden 4758:Shigeru Umebayashi 4716:Shigeru Umebayashi 3957:Witold Lutosławski 3865:José Antonio Abreu 3203:"Peter Lieberson: 2846:on 8 February 2007 2840:"Steven Nuss 1992" 2701:London Sinfonietta 2626:The New York Times 2500:London Sinfonietta 1702:Awards and honours 1603:Witold Lutosławski 1599:Arc II: i Textures 1557: 1460: 1435: 1391:Quotation of Dream 1225: 1161: 1057: 1035:. Opening bars of 982: 943:Quotation of Dream 824:St Matthew Passion 811:St Matthew Passion 769:Northern Territory 578:was written after 439: 409:my own tradition. 222:Parlez-moi d'amour 4935: 4934: 4929: 4928: 4902:Keiichirō Shibuya 4740:Shin'ichirō Ikebe 4710:Shin'ichirō Ikebe 4683:Shin'ichirō Ikebe 4644:Yasushi Akutagawa 4536:Yasushi Akutagawa 4515:Hiroshi Yoshizawa 4464: 4463: 4449:Stuart A. Staples 4371:Zygmunt Konieczny 4317:Frédéric Devreese 4176: 4175: 4113:Michel van der Aa 4107:Esa-Pekka Salonen 4077:Sebastian Currier 3909: 3908: 3823:R. Murray Schafer 3764: 3763: 3479:on 9 October 2011 3414:978-2-296-07763-8 3271:"Takemitsu, Tōru" 3269:Burton, Anthony, 3209:(program notes). 3141:Takemitsu, Tōru, 3127:978-1-56159-239-5 3002:978-1-56159-239-5 2909:Koozin 1991, 125. 2752:Burt, 31 and 272. 2665:Koozin 1991, 124. 2463:Burt, 133 and 160 2320:978-0-19-860884-4 2272:978-0-415-95781-6 2188:978-1-56159-239-5 2094:"Takemitsu, Toru" 2075:on 2 October 2015 2005:978-1-56159-239-5 1834:Glenn Gould Prize 1813:in 1985, and the 1736:Empire of Passion 1574: 1477: 1352:November Steps II 1227:The influence of 1061:pentatonic scales 1053: 897:Arnold Schoenberg 837:and the director 700:November Steps II 625:Collegium Musicum 108: 107: 16:(Redirected from 5153: 4988: 4987: 4986: 4976: 4975: 4974: 4964: 4963: 4962: 4952: 4951: 4950: 4943: 4875:Ryuichi Sakamoto 4782:Yōsuke Yamashita 4704:Ryuichi Sakamoto 4593:Toshiro Mayuzumi 4581:Toshiro Mayuzumi 4551:Toshiro Mayuzumi 4521:Toshiro Mayuzumi 4491: 4484: 4477: 4468: 4467: 4299:Rachid Bouchareb 4288: 4260: 4246: 4236: 4226: 4203: 4196: 4189: 4180: 4179: 4101:Louis Andriessen 4065:George Tsontakis 4047:Aaron Jay Kernis 4023:Simon Bainbridge 3936: 3929: 3922: 3913: 3912: 3895:Alanis Obomsawin 3804: 3797: 3790: 3781: 3780: 3768: 3767: 3756: 3755: 3725:Related articles 3627: 3620: 3613: 3604: 3603: 3589: 3549: 3544:. 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Archived from 2060: 2054: 2053: 2041: 2035: 2034: 2023:Coburn, Steven. 2020: 2011: 2009: 1977: 1950: 1941: 1864: 1804: 1802: 1801: 1787: 1785: 1784: 1770: 1768: 1767: 1747: 1745: 1744: 1576: 1575: 1554: 1504:electronic music 1499:musique concrète 1479: 1478: 1457: 1447:Musique concrète 1417:Rain Tree Sketch 1368:November Steps I 1243:Toshi Ichiyanagi 1229:Olivier Messiaen 1213:Olivier Messiaen 1055: 1054: 905:Toshi Ichiyanagi 901:Olivier Messiaen 673: 613:Peter Sculthorpe 365:Toshi Ichiyanagi 290: 289: 286: 280: 279: 262:musique concrète 257:Pierre Schaeffer 250:electronic music 145: 143: 138: 134: 133: 79: 76:20 February 1996 53: 44: 32: 31: 21: 5161: 5160: 5156: 5155: 5154: 5152: 5151: 5150: 5146:Music theorists 4996: 4995: 4994: 4984: 4982: 4972: 4970: 4960: 4958: 4954:Classical music 4948: 4946: 4938: 4936: 4931: 4930: 4925: 4770:Toshio Hosokawa 4764:Chen Ming Chang 4725:Toshiyuki Honda 4632:Teizo Matsumura 4620:Teizo Matsumura 4500: 4495: 4465: 4460: 4419:Olivier Assayas 4392:Benny Andersson 4380:Stephen Warbeck 4311:Hou Hsiao-hsien 4271:Astor Piazzolla 4251:Pirjo Honkasalo 4231:Jean-Luc Godard 4212: 4207: 4177: 4172: 4161:Julian Anderson 4125:Hans Abrahamsen 4083:Peter Lieberson 4017:Ivan Tcherepnin 4005:Tōru Takemitsu 3987:John Corigliano 3948: 3947: 3940: 3910: 3905: 3901:Gustavo Dudamel 3813: 3808: 3773: 3765: 3760: 3746: 3720: 3645: 3636: 3631: 3580: 3565:discography at 3548:on 6 June 2007. 3540:(in Japanese). 3536: 3528: 3517: 3509:Takemitsu, Toru 3503: 3482: 3480: 3476: 3465: 3458: 3421: 3415: 3407:. L'Harmattan. 3402: 3399: 3397:Further reading 3389: 3302: 3286: 3281: 3268: 3264: 3253: 3249: 3244: 3240: 3231: 3227: 3222: 3218: 3201: 3200: 3196: 3187: 3183: 3178: 3174: 3169: 3165: 3153: 3149: 3140: 3136: 3128: 3100: 3093: 3088: 3084: 3079: 3075: 3070: 3066: 3061: 3057: 3052: 3048: 3043: 3039: 3028: 3024: 3015: 3011: 3003: 2971: 2967: 2955: 2951: 2942: 2938: 2933: 2929: 2920: 2913: 2908: 2899: 2894: 2890: 2885: 2881: 2876: 2869: 2864: 2860: 2849: 2847: 2838: 2828: 2824: 2819: 2815: 2807:Poirer, Alain, 2806: 2802: 2797: 2793: 2788: 2784: 2773: 2769: 2760: 2756: 2751: 2747: 2742: 2738: 2733: 2729: 2724: 2720: 2711: 2707: 2697:Knussen, Oliver 2695: 2691: 2682: 2678: 2673: 2669: 2664: 2660: 2651: 2650: 2646: 2637: 2633: 2615: 2611: 2602: 2598: 2590: 2586: 2578: 2574: 2565: 2561: 2556: 2552: 2543: 2539: 2530: 2523: 2518: 2514: 2498:, performed by 2493: 2489: 2480: 2476: 2471: 2467: 2462: 2458: 2453: 2449: 2444: 2440: 2435: 2431: 2422: 2418: 2413: 2409: 2404: 2397: 2386: 2382: 2377: 2373: 2368: 2364: 2359: 2355: 2344: 2335: 2330: 2326: 2312:Michael Kennedy 2305: 2301: 2290: 2286: 2277: 2275: 2273: 2265:, p. 106, 2251: 2247: 2215:Organised Sound 2210: 2206: 2201: 2197: 2189: 2161: 2157: 2146: 2125: 2116: 2115: 2108: 2102:Michael Kennedy 2092: 2088: 2078: 2076: 2061: 2057: 2042: 2038: 2021: 2014: 2006: 1978: 1953: 1942: 1938: 1934: 1929: 1861: 1848: 1845: 1830:Wayback Machine 1796: 1779: 1762: 1739: 1723:Fantasma/Cantos 1704: 1689:Ananda Sukarlan 1658:Peter Lieberson 1647: 1621:Noboru Nakamura 1617: 1591: 1590: 1582: 1580: 1579: 1578: 1577: 1570: 1567: 1558: 1552: 1532: 1494: 1493: 1485: 1483: 1482: 1481: 1480: 1473: 1470: 1461: 1455: 1450: 1407: 1397:from Debussy's 1393:(1991), direct 1380:antique cymbals 1303:Arnold Whittall 1295: 1202: 1049: 963: 881: 875: 863: 711: 667: 641:Ursula Holliger 623:and the Zurich 593: 437:Takemitsu, 1961 357: 328:Igor Stravinsky 313:Kenji Mizoguchi 301:Relief Statique 287: 274: 246: 202: 197: 146:was a Japanese 136: 128: 123: 104: 87: 81: 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4563:Hikaru Hayashi 4560: 4557: 4554: 4548: 4542: 4539: 4533: 4527: 4524: 4518: 4512: 4509:Fumio Hayasaka 4505: 4502: 4501: 4494: 4493: 4486: 4479: 4471: 4462: 4461: 4459: 4458: 4452: 4446: 4440: 4434: 4431: 4428: 4422: 4416: 4410: 4407: 4401: 4398:Tolib Shakhidi 4395: 4389: 4383: 4377: 4374: 4368: 4362: 4359:Vladimír Godár 4356: 4350: 4347:Rachel Portman 4344: 4338: 4332: 4326: 4320: 4314: 4308: 4302: 4296: 4290: 4283:Michael Haneke 4280: 4277:Tōru Takemitsu 4274: 4268: 4262: 4248: 4238: 4228: 4217: 4214: 4213: 4206: 4205: 4198: 4191: 4183: 4174: 4173: 4171: 4170: 4164: 4158: 4152: 4146: 4140: 4134: 4128: 4122: 4116: 4110: 4104: 4098: 4092: 4086: 4080: 4074: 4068: 4062: 4056: 4053:Kaija Saariaho 4050: 4044: 4038: 4032: 4026: 4020: 4014: 4008: 4002: 3996: 3990: 3984: 3978: 3972: 3966: 3960: 3953: 3950: 3949: 3942: 3939: 3938: 3931: 3924: 3916: 3907: 3906: 3904: 3903: 3897: 3891: 3885: 3879: 3873: 3867: 3861: 3855: 3849: 3843: 3841:Tōru Takemitsu 3837: 3835:Oscar Peterson 3831: 3829:Yehudi Menuhin 3825: 3818: 3815: 3814: 3807: 3806: 3799: 3792: 3784: 3778: 3775: 3774: 3762: 3761: 3751: 3748: 3747: 3745: 3744: 3739: 3737:Music of Japan 3734: 3728: 3726: 3722: 3721: 3719: 3718: 3710: 3702: 3698:Toward the Sea 3694: 3686: 3682:November Steps 3678: 3670: 3662: 3653: 3651: 3647: 3646: 3641: 3638: 3637: 3634:Tōru Takemitsu 3630: 3629: 3622: 3615: 3607: 3601: 3600: 3590: 3578: 3572:Tōru Takemitsu 3569: 3563:Tōru Takemitsu 3560: 3555: 3550: 3534: 3527: 3526:External links 3524: 3523: 3522: 3505: 3501: 3489: 3456: 3419: 3413: 3398: 3395: 3394: 3393: 3387: 3374: 3337: 3325:10.2307/833071 3319:(1): 124–140. 3306: 3300: 3285: 3282: 3280: 3279: 3262: 3257:Music Analysis 3247: 3245:Burt, 277–280. 3238: 3225: 3216: 3194: 3181: 3172: 3163: 3155:Richie, Donald 3147: 3134: 3126: 3104:Sadie, Stanley 3091: 3082: 3073: 3071:Burt, 176–216. 3064: 3055: 3046: 3037: 3022: 3009: 3001: 2979:Sadie, Stanley 2965: 2949: 2936: 2927: 2911: 2897: 2888: 2879: 2877:Burt, 155–156. 2867: 2865:Burt, 173–174. 2858: 2822: 2820:Burt, 166–174. 2813: 2809:Tōru Takemitsu 2800: 2798:Burt, 160–161. 2791: 2782: 2767: 2754: 2745: 2736: 2727: 2718: 2705: 2689: 2676: 2667: 2658: 2644: 2631: 2609: 2596: 2584: 2580:jirikylian.com 2572: 2559: 2550: 2537: 2521: 2512: 2504:Oliver Knussen 2487: 2474: 2465: 2456: 2454:Burt, 132–133. 2447: 2438: 2436:Burt, 128–129. 2429: 2416: 2407: 2395: 2380: 2371: 2362: 2353: 2333: 2324: 2299: 2284: 2271: 2245: 2204: 2195: 2187: 2165:Sadie, Stanley 2155: 2123: 2106: 2086: 2055: 2036: 2012: 2004: 1982:Sadie, Stanley 1951: 1935: 1933: 1930: 1928: 1925: 1924: 1923: 1909: 1895: 1881: 1865: 1859: 1844: 1841: 1836:in fall 1996. 1806: 1805: 1788: 1771: 1754: 1748: 1703: 1700: 1681:Roger Woodward 1670:Oliver Knussen 1646: 1643: 1629:Akira Kurosawa 1616: 1613: 1608:Jeux vénitiens 1581: 1568: 1561: 1560: 1559: 1550: 1549: 1548: 1544:November Steps 1534:One aspect of 1531: 1528: 1484: 1471: 1464: 1463: 1462: 1453: 1452: 1451: 1449: 1444: 1412:Toward the Sea 1406: 1403: 1299:Claude Debussy 1294: 1291: 1201: 1198: 1046: 962: 959: 955:Oliver Knussen 947:Archipelago S. 926:November Steps 885:Claude Debussy 874: 871: 862: 859: 855:bladder cancer 765:Groote Eylandt 733:Toward the Sea 710: 707: 639:, and harpist 637:Heinz Holliger 633:Aurèle Nicolet 617:Vinko Globokar 592: 589: 584:November Steps 580:November Steps 568:November Steps 545:Roger Woodward 521:Iannis Xenakis 500:November Steps 464:November Steps 356: 353: 345:Dorian Horizon 317:Akira Kurosawa 309:Fumio Hayasaka 297:tape-recording 245: 242: 201: 198: 196: 193: 150:and writer on 126:Tōru Takemitsu 106: 105: 103: 102: 99: 95: 93: 89: 88: 82: 80:(aged 65) 74: 70: 69: 63: 61:8 October 1930 59: 55: 54: 46: 45: 39: 38: 36:Tōru Takemitsu 35: 26: 18:Toru Takemitsu 9: 6: 4: 3: 2: 5158: 5147: 5144: 5142: 5139: 5137: 5134: 5132: 5129: 5127: 5124: 5122: 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5064: 5062: 5059: 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1997: 1993: 1992: 1987: 1986:Tyrrell, John 1983: 1976: 1974: 1972: 1970: 1968: 1966: 1964: 1962: 1960: 1958: 1956: 1948: 1947: 1940: 1936: 1922: 1918: 1914: 1910: 1908: 1904: 1900: 1896: 1894: 1890: 1886: 1882: 1880: 1876: 1872: 1871: 1866: 1862: 1860:0-914913-36-0 1856: 1852: 1847: 1846: 1840: 1837: 1835: 1831: 1827: 1824: 1820: 1816: 1812: 1795: 1794: 1789: 1778: 1777: 1772: 1761: 1760: 1755: 1753: 1749: 1738: 1737: 1732: 1731: 1730: 1728: 1724: 1721:in 1994 (for 1720: 1717: 1713: 1709: 1699: 1697: 1692: 1690: 1685: 1682: 1677: 1675: 1671: 1668:and composer 1667: 1663: 1659: 1654: 1652: 1642: 1638: 1636: 1635: 1630: 1624: 1622: 1612: 1610: 1609: 1604: 1600: 1596: 1589: 1587: 1566: 1565: 1547: 1545: 1541: 1540:indeterminacy 1537: 1527: 1525: 1524: 1519: 1518: 1513: 1509: 1505: 1501: 1500: 1492: 1490: 1469: 1468: 1448: 1443: 1441: 1432: 1428: 1424: 1422: 1418: 1414: 1413: 1402: 1400: 1396: 1392: 1387: 1385: 1381: 1377: 1373: 1369: 1365: 1364: 1359: 1358: 1353: 1349: 1344: 1342: 1338: 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DECCA. 3110:(eds.). 2985:(eds.). 2947:, 36–38. 2427:, 69–70. 2240:62553919 2171:(eds.). 2030:AllMusic 1988:(eds.). 1843:Writings 1826:Archived 1419:, 1982; 1415:, 1981; 1339:through 1276:Quatrain 1268:Quatrain 1221:Quatrain 1136:Shuteiga 1041:i Adagio 974:Masque I 945:(1991), 745:riverrun 743:(1982), 735:(1981), 659:Quatrain 597:Expo '70 541:For Away 529:Balinese 508:Messiaen 423:shamisen 375:(1961), 232:was the 214:Liaoning 187:and the 173:academia 148:composer 110:In this 98:Composer 4940:Portals 4413:Evgueni 4353:Tan Dun 4029:Tan Dun 3674:Eclipse 3666:Valeria 3483:28 July 3284:Sources 3207:(1997)" 3190:Cinejap 2425:Mirrors 2100:, eds. 1793:Sharaku 1517:tsuzumi 1405:Motives 1341:Berlioz 1323:Hokusai 1086:scale. 978:Continu 717:in his 537:kapachi 532:gamelan 480:Eclipse 454:Seppuku 419:Bunraku 324:Requiem 180:Requiem 116:surname 86:, Japan 67:, Japan 4922:(2023) 4916:(2022) 4910:(2021) 4904:(2020) 4898:(2019) 4883:(2016) 4877:(2015) 4871:(2014) 4862:(2012) 4856:(2011) 4850:(2010) 4841:(2008) 4835:(2007) 4829:(2006) 4823:(2005) 4817:(2004) 4808:(2002) 4802:(2001) 4796:(2001) 4784:(1998) 4778:(1997) 4772:(1996) 4766:(1995) 4760:(1994) 4754:(1993) 4742:(1990) 4736:(1989) 4727:(1987) 4718:(1985) 4712:(1984) 4706:(1983) 4697:(1982) 4691:(1981) 4685:(1980) 4679:(1979) 4673:(1978) 4667:(1977) 4661:(1976) 4655:(1975) 4646:(1974) 4640:(1973) 4634:(1972) 4628:(1971) 4622:(1970) 4616:(1969) 4610:(1968) 4601:(1966) 4595:(1965) 4589:(1964) 4583:(1963) 4571:(1960) 4565:(1959) 4553:(1957) 4547:(1956) 4538:(1953) 4532:(1952) 4523:(1950) 4517:(1950) 4451:(2018) 4445:(2017) 4439:(2016) 4427:(2013) 4421:(2012) 4406:(2009) 4400:(2008) 4394:(2007) 4382:(2005) 4373:(2003) 4367:(2002) 4361:(2001) 4355:(2000) 4349:(1999) 4343:(1998) 4337:(1997) 4331:(1996) 4325:(1995) 4319:(1994) 4313:(1993) 4307:(1992) 4301:(1991) 4295:(1990) 4279:(1989) 4273:(1988) 4267:(1987) 4169:(2024) 4163:(2023) 4157:(2022) 4151:(2021) 4145:(2019) 4139:(2018) 4133:(2017) 4127:(2016) 4121:(2014) 4115:(2013) 4109:(2012) 4103:(2011) 4097:(2010) 4091:(2009) 4085:(2008) 4079:(2007) 4073:(2006) 4067:(2005) 4061:(2004) 4055:(2003) 4049:(2002) 4043:(2001) 4037:(2000) 4031:(1998) 4025:(1997) 4019:(1996) 4013:(1995) 4007:(1994) 4001:(1993) 3995:(1992) 3989:(1991) 3983:(1990) 3977:(1989) 3971:(1987) 3965:(1986) 3959:(1985) 3717:(1990) 3709:(1989) 3701:(1981) 3693:(1971) 3685:(1967) 3677:(1966) 3669:(1965) 3661:(1962) 3658:Corona 3499: 3450: 3442: 3411: 3385: 3368: 3360: 3333:833071 3331: 3298: 3124: 3020:, 110. 2999: 2850:2 June 2831:Gagaku 2593:p. 153 2591:Burt, 2548:, 112. 2318: 2310:, ed. 2278:4 June 2269: 2238: 2185: 2052:(176). 2050:Frieze 2002: 1921:833410 1919: 1893:833284 1891: 1879:833411 1877: 1857: 1645:Legacy 1399:La Mer 1382:, and 1333:Rameau 1318:La mer 1223:(1975) 1194:gagaku 1157:gagaku 1131:gagaku 1116:, the 1065:Litany 990:Kakehi 899:, and 814:, and 803:quotes 799:Folios 715:motive 677:gagaku 615:, and 576:Autumn 564:Autumn 210:Dalian 160:timbre 114:, the 101:Writer 4990:Music 4966:Japan 3690:Voice 3650:Works 3586:IRCAM 3518:(PDF) 3477:(PDF) 3466:(PDF) 3448:S2CID 3366:S2CID 3329:JSTOR 3032:Notes 2294:Tempo 2236:S2CID 2222:(1). 1946:Notes 1917:JSTOR 1889:JSTOR 1875:JSTOR 1790:1996 1776:Rikyu 1773:1990 1756:1986 1750:1985 1733:1979 1376:Green 1348:Green 1337:Lully 1247:modes 1184:shō's 1005:insen 999:ritsu 873:Music 805:from 793:. In 696:Green 688:Green 672:] 655:Waves 650:Voice 601:Osaka 206:Tokyo 200:Youth 4287:BUMF 4253:and 4235:BUEM 3597:WNIB 3576:IMDb 3497:ISBN 3485:2011 3440:ISSN 3409:ISBN 3383:ISBN 3358:ISSN 3296:ISBN 3122:ISBN 2997:ISBN 2852:2007 2716:, 4. 2687:, 5. 2485:, 83 2316:ISBN 2280:2011 2267:ISBN 2183:ISBN 2081:2012 2000:ISBN 1855:ISBN 1743:愛の亡霊 1520:and 1363:Jeux 1360:and 1335:and 1092:biwa 1069:for 1002:and 938:biwa 935:and 747:and 739:and 698:(or 675:for 560:biwa 487:and 485:biwa 483:for 469:biwa 467:for 448:biwa 381:and 373:Ring 315:and 278:実験工房 234:only 154:and 132:武満徹 73:Died 58:Born 4259:BAM 4245:BOM 4225:BMD 3595:on 3574:at 3432:doi 3350:doi 3321:doi 2623:", 2619:. 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