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.
423:
1542:
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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.
1194:
3743:
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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."
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
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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,
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
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
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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.
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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
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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",
818:
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
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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
40:
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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
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
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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.
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
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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
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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.
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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
1465:
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
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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
393:) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:
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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
171:
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".
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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
1359:
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
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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.
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1039:
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.
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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".
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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
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
5079:
3922:
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
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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
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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.
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
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
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
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1979:
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284:("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic
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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.
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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.
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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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1067:(1950; the original score was lost), pentatonicism is clearly visible in the upper voice, which opens the work on an unaccompanied
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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
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1101:, an unquantifiable metaphysical space (duration) of dynamically tensed absence of sound. For example, in the performance of
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Fujii, Koichi (2004). "Chronology of early electroacoustic music in Japan: What types of source materials are available?".
1278:, which was to be Takemitsu's final piano piece, was also written that year and subtitled "In Memoriam Olivier Messiaen".
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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.
900:, he showed an early interest in "... the Japanese Garden in color spacing and form ...". The formal garden of the
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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).
1422:. Various examples of Takemitsu's S–E–A motive, derived from the German spelling of the notes E♭, E, A ("Es–E–A")
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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
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815:, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".)
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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
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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.
160:(Experimental Workshop) in Japan, a group of avant-garde artists who distanced themselves from
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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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2688:, Liner notes to Takemitsu: Quotation of Dream, performed by Paul Crossley/Peter Serkin/
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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".
881:
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1234:), and the influence of Messiaen is clearly visible in the work, in the use of
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2818:
Burt, 167 and Nuss, Steven, "Looking Forward, looking back: Influences of the
2768:
2220:
1895:
1718:
for outstanding achievement in music, for soundtracks to the following films:
1006:, and for which he devised his own unique notation: a held note is tied to an
710:(for violin and orchestra, 1980) that would recur throughout his later works:
4988:
4857:
4827:
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4533:
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4281:
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4143:
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3503:
Booklet of Corona(London version) For Away/Piano-Distance Undisturbed Rest LP
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3350:
3143:
3092:
2967:
2153:
1970:
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
1059:
827:
823:
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703:
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329:
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226:
100:
72:
3755:
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2106:
1052:, continued to crop up elsewhere in his early works. In the opening bars of
343:
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 ("
4978:
4954:
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4794:
4788:
4782:
4734:
4425:
4353:
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3424:
3342:
2605:
1764:
1654:
1235:
1017:
1002:(for two flutes, 1959), which mirror the characteristic pitch bends of the
877:
855:
537:
382:
144:
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2034:
1684:
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1130:
1048:
Other Japanese characteristics, including the further use of traditional
993:
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
775:
609:
585:
513:
492:
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
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450:, to commemorate the orchestra's 125th anniversary, for which he wrote
140:
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based on the same idea as mine. I was pleased with this coincidence."
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1177:
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839:
761:
349:
308:, the latter of whom Takemitsu would collaborate with decades later.
3930:
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
4884:
4869:
4323:
3835:
3313:
2018:
1856:
Takemitsu, Tōru, with Cronin, Tania and Tann, Hilary, "Afterword",
1528:
496:
411:
202:
161:
136:
3541:
2054:"Electroacoustic Music in Japan: The Persistence of the DIY Model"
892:. Messiaen in particular was introduced to him by fellow composer
4341:
4017:
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
1505:
1311:
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
520:
407:
104:
1862:, vol. 27, no. 2 (Summer, 1989), 205–214, (subscription access)
720:
from this period have titles that include a reference to water:
39:
2754:
vol. 8, part 2,, trans. Hugh de Ferranti, (Harwood, 1994), 3–4.
1904:, vol. 27, no. 2 (Summer, 1989), 198–204 (subscription access)
1145:
1119:
981:("Conduit"), written at the age of seventeen, incorporates the
328:
which, he assumed, had come as a suggestion from Stravinsky to
198:
148:
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
257:
In 1951, Takemitsu was a founding member of the anti-academic
3574:
1290:, referring to the French composer as his "great mentor". As
1242:
to appear with some frequency. In particular, the use of the
589:
194:
2520:
Kondō, Jō "Introduction: Tōru Takemitsu as I remember him",
1511:
2692:/Oliver Knussen, Deutsche Grammophon: Echo 20/21 453 495–2.
1351:
926:
517:
436:
1143:, mouth organ of the traditional Japanese court ensemble,
949:
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
320:
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.
4485:
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
232:
1286:Takemitsu frequently expressed his indebtedness to
697:
580:
International status and the gradual shift in style
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
4986:
4213:
3368:Creative sources for the Music of Toru Takemitsu
2136:Takemitsu, Tōru, "Contemporary Music in Japan",
1968:
1900:Takemitsu, Tōru, "Contemporary Music in Japan",
608:. Later that year, as part of a commission from
3798:
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)"
2887:
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:
3760:
3607:
3496:
2367:See Burt, 96 and Takemitsu, "Afterword", 212.
2274:
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
3024:, 2nd ser., vol. 33, no. 4 (June 1977), 934.
2330:
2328:
2326:
2113:
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",
2241:
2002:
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:
4190:
4176:
3923:
3909:
3791:
3777:
3614:
3600:
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:
4197:
2323:
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.
2151:
2101:
2099:
2032:
1964:
1668:On the death of his friend, the pianist
1414:
1192:
1188:
1129:
1016:
953:
421:
319:in 1958 during his visit to Japan. (The
16:Japanese composer and writer (1930–1996)
2901:
2857:
2390:
2388:
2109:. Tokyo Opera City Cultural Foundation.
1962:
1960:
1958:
1956:
1954:
1952:
1950:
1948:
1946:
1944:
1310:, for example, was famously adorned by
1281:
950:Influence of traditional Japanese music
173:
4987:
3933:Grawemeyer Award for Music Composition
3365:
3328:
3297:
3194:The Ocean that has No West and No East
3177:Tessier, Max, "Takemitsu: Interview".
2962:
2470:Takemitsu, "Notes on November Steps",
2087:The Concise Oxford Dictionary of Music
2051:
2033:Erickson, Matthew (11 December 2015).
1708:Grawemeyer Award for Music Composition
1518:
868:List of compositions by Tōru Takemitsu
4459:
4171:
3904:
3772:
3759:
3595:
3081:
3005:Takemitsu, Tōru, "Dream and Number",
2912:Confronting Silence—Selected Writings
2511:
2382:, vol. 27, no. 2 (Summer, 1989), 217.
2200:
2096:
1690:
1083:or single pitch breathed through the
336:, (1966), which was premièred by the
128:
5025:20th-century Japanese male musicians
4365:Miguel Miranda and José Tobar (2004)
3278:
2385:
2058:University of California at Berkeley
1941:
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
3090:
2142:, vol. 27, no. 2, (Summer 1989), 3.
1716:Film Awards of the Japanese Academy
1651:The Ocean that has no East and West
1434:
508:In 1972, Takemitsu, accompanied by
13:
5130:Japanese male television composers
5120:Japanese male film score composers
5035:Composers for the classical guitar
4487:Mainichi Film Award for Best Music
3621:
3385:
2618:. New York City, 21 February 1996.
2297:Oxford Concise Dictionary of Music
2107:"Toru Takemitsu Composition Award"
2014:"Toru Takemitsu, Artist Biography"
2011:
1540:
1443:
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:
5146:
5110:Japanese male classical composers
3514:
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:
849:
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
3252:
3237:
3228:
3215:
3206:
3184:
3171:
3162:
3153:
3137:
3124:
3072:
3063:
3054:
3045:
3036:
3027:
3012:
2999:
2955:
2939:
2926:
2917:
2878:
2869:
2848:
2812:
2803:
2790:
2781:
2772:
2757:
2744:
2735:
2726:
2717:
2708:
2701:Takemitsu, "Nature and Music",
2695:
2679:
2672:Takemitsu, "Nature and Music",
2666:
2657:
2648:
2634:
2621:
2599:
2586:
2574:
2562:
2549:
2540:
2533:Takemitsu, "Dream and Number",
2527:
2502:
2477:
2464:
2455:
2446:
2437:
2428:
2419:
2406:
2397:
2370:
2361:
2352:
2343:
2334:Takemitsu, Tōru , "Afterword",
2314:
2289:
2235:
2194:
2185:
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.
2145:
2076:
2045:
2026:
1926:
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",
1915:
1800:Ordre des Arts et des Lettres
1714:). In Japan, he received the
1603:
938:, for 21 players (1993), and
5085:Japanese classical composers
3527:"Complete Takemitsu Edition"
2559:(1982), quoted in Burt, 176.
2434:Takemitsu, "Afterword", 210.
1920:
372:Corona II for string(s)
288:techniques in such works as
183:
7:
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
1831:
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
10:
5151:
5030:20th-century musicologists
4404:and Sacha Galperine (2011)
3721:Acousmatic-music composers
3272:
2778:Takemitsu, "One Sound", 4.
2213:Cambridge University Press
1594:, who pioneered it in his
1393:
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:
3713:
3638:
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
1633:
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:
80:
61:
46:
37:
30:
23:
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
861:
540:of a gamelan orchestra.
352:; but when the composer
340:, conducted by Copland.
188:
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:
4456:
4288:Rachid Bouchareb
4277:
4249:
4235:
4225:
4215:
4192:
4185:
4178:
4169:
4168:
4090:Louis Andriessen
4054:George Tsontakis
4036:Aaron Jay Kernis
4012:Simon Bainbridge
3925:
3918:
3911:
3902:
3901:
3884:Alanis Obomsawin
3793:
3786:
3779:
3770:
3769:
3757:
3756:
3745:
3744:
3714:Related articles
3616:
3609:
3602:
3593:
3592:
3578:
3538:
3533:. Archived from
3510:
3508:
3477:
3475:
3473:
3467:
3461:. Archived from
3456:
3444:
3407:
3381:
3370:. Scolar Press.
3362:
3325:
3294:
3267:
3256:
3250:
3241:
3235:
3232:
3226:
3219:
3213:
3210:
3204:
3203:
3200:Wise Music Group
3188:
3182:
3175:
3169:
3166:
3160:
3157:
3151:
3141:
3135:
3128:
3122:
3120:
3088:
3079:
3076:
3070:
3067:
3061:
3058:
3052:
3049:
3043:
3040:
3034:
3031:
3025:
3016:
3010:
3003:
2997:
2995:
2964:Lesure, François
2959:
2953:
2946:Whittall, Arnold
2943:
2937:
2930:
2924:
2921:
2915:
2908:
2899:
2896:
2885:
2882:
2876:
2873:
2867:
2864:
2855:
2852:
2846:
2844:
2842:
2840:
2831:. Archived from
2816:
2810:
2807:
2801:
2794:
2788:
2785:
2779:
2776:
2770:
2761:
2755:
2748:
2742:
2739:
2733:
2730:
2724:
2721:
2715:
2712:
2706:
2699:
2693:
2683:
2677:
2670:
2664:
2661:
2655:
2652:
2646:
2645:
2638:
2632:
2629:Opera wo tsukuru
2625:
2619:
2603:
2597:
2590:
2584:
2578:
2572:
2566:
2560:
2553:
2547:
2546:Koozin 2002, 22.
2544:
2538:
2531:
2525:
2518:
2509:
2506:
2500:
2499:, SINF CD3-2006.
2481:
2475:
2468:
2462:
2459:
2453:
2450:
2444:
2441:
2435:
2432:
2426:
2423:
2417:
2410:
2404:
2401:
2395:
2392:
2383:
2374:
2368:
2365:
2359:
2356:
2350:
2347:
2341:
2332:
2321:
2318:
2312:
2293:
2287:
2278:
2272:
2271:
2270:
2268:
2250:(3rd ed.),
2239:
2233:
2232:
2198:
2192:
2189:
2183:
2181:
2149:
2143:
2134:
2111:
2110:
2103:
2094:
2080:
2074:
2073:
2071:
2069:
2060:. Archived from
2049:
2043:
2042:
2030:
2024:
2023:
2012:Coburn, Steven.
2009:
2000:
1998:
1966:
1939:
1930:
1853:
1793:
1791:
1790:
1776:
1774:
1773:
1759:
1757:
1756:
1736:
1734:
1733:
1565:
1564:
1543:
1493:electronic music
1488:musique concrète
1468:
1467:
1446:
1436:Musique concrète
1406:Rain Tree Sketch
1357:November Steps I
1232:Toshi Ichiyanagi
1218:Olivier Messiaen
1202:Olivier Messiaen
1044:
1043:
894:Toshi Ichiyanagi
890:Olivier Messiaen
662:
602:Peter Sculthorpe
354:Toshi Ichiyanagi
279:
278:
275:
269:
268:
251:musique concrète
246:Pierre Schaeffer
239:electronic music
134:
132:
127:
123:
122:
68:
65:20 February 1996
42:
33:
21:
20:
5150:
5149:
5145:
5144:
5143:
5141:
5140:
5139:
5135:Music theorists
4985:
4984:
4983:
4973:
4971:
4961:
4959:
4949:
4947:
4943:Classical music
4937:
4935:
4927:
4925:
4920:
4919:
4914:
4759:Toshio Hosokawa
4753:Chen Ming Chang
4714:Toshiyuki Honda
4621:Teizo Matsumura
4609:Teizo Matsumura
4489:
4484:
4454:
4449:
4408:Olivier Assayas
4381:Benny Andersson
4369:Stephen Warbeck
4300:Hou Hsiao-hsien
4260:Astor Piazzolla
4240:Pirjo Honkasalo
4220:Jean-Luc Godard
4201:
4196:
4166:
4161:
4150:Julian Anderson
4114:Hans Abrahamsen
4072:Peter Lieberson
4006:Ivan Tcherepnin
3994:Tōru Takemitsu
3976:John Corigliano
3937:
3936:
3929:
3899:
3894:
3890:Gustavo Dudamel
3802:
3797:
3762:
3754:
3749:
3735:
3709:
3634:
3625:
3620:
3569:
3554:discography at
3537:on 6 June 2007.
3529:(in Japanese).
3525:
3517:
3506:
3498:Takemitsu, Toru
3492:
3471:
3469:
3465:
3454:
3447:
3410:
3404:
3396:. L'Harmattan.
3391:
3388:
3386:Further reading
3378:
3291:
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:
3089:
3082:
3077:
3073:
3068:
3064:
3059:
3055:
3050:
3046:
3041:
3037:
3032:
3028:
3017:
3013:
3004:
3000:
2992:
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,
2240:
2236:
2204:Organised Sound
2199:
2195:
2190:
2186:
2178:
2150:
2146:
2135:
2114:
2105:
2104:
2097:
2091:Michael Kennedy
2081:
2077:
2067:
2065:
2050:
2046:
2031:
2027:
2010:
2003:
1995:
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:
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:
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:
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:
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:
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:
3796:
3795:
3788:
3781:
3773:
3767:
3764:
3763:
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
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:
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:
5088:
5086:
5083:
5081:
5078:
5076:
5073:
5071:
5068:
5066:
5063:
5061:
5058:
5056:
5053:
5051:
5048:
5046:
5043:
5041:
5038:
5036:
5033:
5031:
5028:
5026:
5023:
5021:
5018:
5016:
5013:
5011:
5008:
5006:
5003:
5001:
4998:
4996:
4993:
4992:
4990:
4980:
4970:
4968:
4958:
4956:
4946:
4944:
4934:
4933:
4930:
4910:
4907:
4904:
4901:
4898:
4895:
4892:
4889:
4886:
4883:
4880:
4877:
4874:
4871:
4868:
4865:
4862:
4859:
4858:Yoshikazu Suo
4856:
4853:
4850:
4847:
4844:
4841:
4838:
4835:
4832:
4829:
4828:Taro Iwashiro
4826:
4823:
4820:
4817:
4814:
4811:
4810:Kazuhiko Katō
4808:
4805:
4804:Terumasa Hino
4802:
4799:
4796:
4793:
4790:
4787:
4784:
4781:
4778:
4775:
4772:
4769:
4766:
4763:
4760:
4757:
4754:
4751:
4748:
4745:
4742:
4739:
4736:
4733:
4730:
4727:
4724:
4721:
4718:
4715:
4712:
4709:
4706:
4703:
4700:
4697:
4694:
4691:
4688:
4685:
4682:
4679:
4676:
4673:
4670:
4667:
4664:
4661:
4658:
4655:
4652:
4649:
4646:
4643:
4640:
4637:
4634:
4631:
4628:
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4616:
4613:
4610:
4607:
4604:
4601:
4598:
4595:
4592:
4589:
4586:
4583:
4580:
4577:
4574:
4571:
4568:
4565:
4562:
4559:
4556:
4553:
4550:
4547:
4544:
4541:
4538:
4535:
4534:Akira Ifukube
4532:
4529:
4526:
4523:
4520:
4517:
4514:
4511:
4508:
4505:
4502:
4499:
4496:
4495:
4492:
4488:
4481:
4476:
4474:
4469:
4467:
4462:
4461:
4458:
4445:
4442:
4439:
4436:
4433:
4430:
4427:
4424:
4421:
4418:
4415:
4412:
4409:
4406:
4403:
4400:
4397:
4394:
4393:Nathan Larson
4391:
4388:
4385:
4382:
4379:
4376:
4373:
4370:
4367:
4364:
4361:
4358:
4355:
4352:
4349:
4346:
4343:
4340:
4337:
4334:
4331:
4328:
4325:
4322:
4319:
4318:Bruno Coulais
4316:
4313:
4312:Tôn-Thất Tiết
4310:
4307:
4304:
4301:
4298:
4295:
4294:David Robbins
4292:
4289:
4286:
4283:
4282:Michael Kamen
4280:
4273:
4270:
4267:
4264:
4261:
4258:
4255:
4252:
4245:
4241:
4238:
4231:
4228:
4221:
4218:
4211:
4210:Daniel Schmid
4208:
4207:
4204:
4200:
4193:
4188:
4186:
4181:
4179:
4174:
4173:
4170:
4157:
4154:
4151:
4148:
4145:
4144:Olga Neuwirth
4142:
4139:
4136:
4133:
4130:
4127:
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:
3676:
3673:
3672:
3668:
3665:
3664:
3660:
3657:
3656:
3652:
3649:
3648:
3644:
3643:
3641:
3637:
3633:
3628:
3624:
3617:
3612:
3610:
3605:
3603:
3598:
3597:
3594:
3587:
3583:
3580:
3576:
3572:
3568:
3566:
3562:
3559:
3557:
3553:
3550:
3548:
3545:
3543:
3540:
3536:
3532:
3528:
3524:
3522:
3519:
3518:
3505:
3504:
3499:
3495:
3493:
3491:9780733323034
3487:
3483:
3479:
3464:
3460:
3453:
3452:
3446:
3442:
3438:
3434:
3430:
3426:
3422:
3418:
3414:
3409:
3405:
3399:
3395:
3390:
3389:
3379:
3377:0-85967-954-3
3373:
3369:
3364:
3360:
3356:
3352:
3348:
3344:
3340:
3336:
3332:
3327:
3323:
3319:
3315:
3311:
3307:
3303:
3302:
3296:
3292:
3290:0-521-78220-1
3286:
3282:
3277:
3276:
3265:
3261:
3255:
3248:
3247:
3240:
3231:
3224:
3218:
3209:
3201:
3197:
3195:
3187:
3180:
3174:
3165:
3156:
3149:
3145:
3140:
3133:
3127:
3118:
3112:
3108:
3104:
3103:
3098:
3097:Tyrrell, John
3094:
3087:
3085:
3078:See Burt, 45.
3075:
3066:
3057:
3051:Knussen, 5–6.
3048:
3039:
3030:
3023:
3022:
3015:
3008:
3002:
2993:
2987:
2983:
2979:
2978:
2973:
2972:Tyrrell, John
2969:
2965:
2958:
2951:
2947:
2942:
2935:
2929:
2920:
2913:
2907:
2905:
2895:
2893:
2891:
2881:
2872:
2863:
2861:
2851:
2834:
2830:
2825:
2821:
2815:
2806:
2799:
2793:
2784:
2775:
2769:
2766:
2760:
2753:
2747:
2738:
2729:
2720:
2711:
2704:
2698:
2691:
2687:
2682:
2675:
2669:
2660:
2651:
2643:
2637:
2630:
2624:
2617:
2616:
2611:
2607:
2606:Kozinn, Allan
2602:
2595:
2589:
2583:
2577:
2570:
2565:
2558:
2552:
2543:
2536:
2530:
2523:
2517:
2515:
2508:Burt, 118–124
2505:
2498:
2494:
2490:
2486:
2480:
2473:
2467:
2458:
2449:
2440:
2431:
2422:
2415:
2409:
2400:
2391:
2389:
2381:
2380:
2373:
2364:
2355:
2346:
2339:
2338:
2331:
2329:
2327:
2317:
2310:
2306:
2302:
2298:
2292:
2285:
2284:
2277:
2263:
2257:
2253:
2249:
2245:
2238:
2230:
2226:
2222:
2218:
2214:
2210:
2206:
2205:
2197:
2188:
2179:
2173:
2169:
2165:
2164:
2159:
2158:Tyrrell, John
2155:
2148:
2141:
2140:
2133:
2131:
2129:
2127:
2125:
2123:
2121:
2119:
2117:
2108:
2102:
2100:
2092:
2088:
2084:
2079:
2063:
2059:
2055:
2048:
2040:
2036:
2029:
2021:
2020:
2015:
2008:
2006:
1996:
1990:
1986:
1982:
1981:
1976:
1975:Tyrrell, John
1972:
1965:
1963:
1961:
1959:
1957:
1955:
1953:
1951:
1949:
1947:
1945:
1937:
1936:
1929:
1925:
1911:
1907:
1903:
1899:
1897:
1893:
1889:
1885:
1883:
1879:
1875:
1871:
1869:
1865:
1861:
1860:
1855:
1851:
1849:0-914913-36-0
1845:
1841:
1836:
1835:
1829:
1826:
1824:
1820:
1816:
1813:
1809:
1805:
1801:
1784:
1783:
1778:
1767:
1766:
1761:
1750:
1749:
1744:
1742:
1738:
1727:
1726:
1721:
1720:
1719:
1717:
1713:
1710:in 1994 (for
1709:
1706:
1702:
1698:
1688:
1686:
1681:
1679:
1674:
1671:
1666:
1664:
1660:
1657:and composer
1656:
1652:
1648:
1643:
1641:
1631:
1627:
1625:
1624:
1619:
1613:
1611:
1601:
1599:
1598:
1593:
1589:
1585:
1578:
1576:
1555:
1554:
1536:
1534:
1530:
1529:indeterminacy
1526:
1516:
1514:
1513:
1508:
1507:
1502:
1498:
1494:
1490:
1489:
1481:
1479:
1458:
1457:
1437:
1432:
1430:
1421:
1417:
1413:
1411:
1407:
1403:
1402:
1391:
1389:
1385:
1381:
1376:
1374:
1370:
1366:
1362:
1358:
1354:
1353:
1348:
1347:
1342:
1338:
1333:
1331:
1327:
1323:
1319:
1318:
1313:
1309:
1308:
1300:
1295:
1293:
1289:
1279:
1277:
1271:
1270:
1266:
1262:
1258:
1254:
1253:
1247:
1245:
1241:
1237:
1233:
1229:
1228:
1223:
1219:
1211:
1207:
1203:
1199:
1195:
1186:
1184:
1180:
1179:
1174:
1169:
1165:
1161:
1160:
1155:
1148:
1147:
1142:
1141:
1136:
1132:
1128:
1126:
1122:
1121:
1116:
1110:
1108:
1104:
1100:
1094:
1092:
1091:
1086:
1082:
1076:
1074:
1070:
1066:
1062:
1061:
1060:Michael Vyner
1055:
1051:
1033:
1031:
1027:
1023:
1019:
1015:
1013:
1009:
1005:
1001:
996:
995:
990:
989:
985:
980:
975:
968:
964:
960:
956:
947:
945:
941:
937:
933:
929:
928:
923:
922:
917:
916:
909:
905:
903:
899:
895:
891:
887:
883:
882:Edgard Varèse
879:
875:
869:
859:
857:
850:Personal life
847:
845:
841:
837:
833:
829:
828:Daniel Schmid
825:
824:Barry Gifford
820:
816:
814:
810:
809:Maurice Ravel
806:
802:
801:
797:
793:
789:
785:
781:
777:
773:
771:
767:
763:
759:
755:
751:
746:
743:
739:
735:
731:
727:
723:
716:
715:chords flow.
711:
709:
705:
695:
692:
690:
686:
682:
678:
673:
671:
667:
663:
660:
655:
649:
645:
641:
640:
633:
631:
627:
623:
619:
615:
611:
607:
603:
599:
595:
591:
587:
576:
574:
570:
566:
560:
558:
554:
550:
546:
541:
539:
538:metallophones
535:
532:(written for
531:
527:
522:
519:
515:
511:
506:
504:
503:
498:
494:
490:
485:
483:
479:
475:
471:
470:
465:
464:
459:
455:
454:
449:
445:
444:
439:
438:
433:
424:
420:
415:
413:
409:
403:
399:
394:
392:
388:
384:
380:
375:
373:
369:
368:
363:
359:
355:
351:
341:
339:
335:
331:
330:Aaron Copland
327:
322:
318:
314:
309:
307:
303:
299:
295:
291:
287:
283:
274:
262:
261:
255:
253:
252:
247:
243:
240:
230:
228:
227:Yasuji Kiyose
224:
218:
214:
212:
208:
204:
200:
196:
181:
179:
175:
170:
165:
163:
159:
158:
152:
150:
146:
142:
138:
131:
116:
110:
106:
102:
101:Japanese name
89:
86:
85:
83:
79:
74:
73:Minato, Tokyo
64:
60:
55:
49:
45:
41:
36:
29:
22:
19:
4909:Jim O'Rourke
4875:Soi48 (2017)
4837:Jim O'Rourke
4822:Rei Harakami
4816:Takashi Kako
4795:Takashi Kako
4789:Youmi Kimura
4783:Joe Hisaishi
4735:Joe Hisaishi
4659:
4641:
4626:
4614:
4602:
4587:
4575:
4563:
4519:Ichirō Saitō
4426:Johnny Jewel
4354:Howard Shore
4265:
3993:
3872:Philip Glass
3848:André Previn
3829:
3701:
3693:
3685:
3677:
3669:
3661:
3653:
3645:
3622:
3535:the original
3502:
3481:
3470:. Retrieved
3463:the original
3450:
3419:(4): 35–71.
3416:
3412:
3393:
3367:
3337:(4): 17–34.
3334:
3330:
3305:
3299:
3280:
3263:
3254:
3244:
3239:
3230:
3222:
3217:
3208:
3193:
3186:
3178:
3173:
3164:
3155:
3147:
3139:
3131:
3126:
3100:
3074:
3065:
3056:
3047:
3038:
3029:
3019:
3014:
3006:
3001:
2975:
2957:
2941:
2933:
2928:
2919:
2911:
2880:
2871:
2850:
2837:. Retrieved
2833:the original
2823:
2819:
2814:
2805:
2797:
2792:
2783:
2774:
2764:
2759:
2751:
2746:
2737:
2728:
2719:
2710:
2702:
2697:
2681:
2673:
2668:
2659:
2650:
2636:
2628:
2623:
2613:
2601:
2596:, 91 and 96.
2593:
2588:
2576:
2564:
2556:
2551:
2542:
2534:
2529:
2521:
2504:
2484:
2479:
2471:
2466:
2457:
2448:
2439:
2430:
2421:
2413:
2408:
2399:
2377:
2372:
2363:
2354:
2345:
2335:
2316:
2296:
2291:
2281:
2276:
2265:, retrieved
2247:
2237:
2208:
2202:
2196:
2187:
2161:
2147:
2137:
2086:
2078:
2068:15 September
2066:. Retrieved
2062:the original
2057:
2047:
2038:
2028:
2017:
1978:
1933:
1928:
1901:
1887:
1873:
1857:
1839:
1827:
1803:
1799:
1796:
1780:
1763:
1746:
1723:
1711:
1700:
1697:Tableau noir
1696:
1694:
1682:
1675:
1667:
1655:Peter Serkin
1650:
1644:
1639:
1637:
1628:
1621:
1614:
1607:
1595:
1587:
1583:
1581:
1572:
1552:
1532:
1522:
1510:
1504:
1500:
1496:
1486:
1484:
1475:
1455:
1435:
1428:
1425:
1419:
1409:
1405:
1399:
1397:
1387:
1379:
1377:
1372:
1364:
1360:
1356:
1350:
1344:
1340:
1336:
1334:
1315:
1306:
1302:
1297:
1285:
1275:
1272:
1269:Quatrain II.
1268:
1264:
1260:
1256:
1250:
1248:
1225:
1221:
1215:
1209:
1205:
1197:
1182:
1176:
1172:
1167:
1163:
1157:
1153:
1151:
1144:
1138:
1134:
1124:
1118:
1112:
1106:
1102:
1098:
1096:
1088:
1084:
1080:
1077:
1072:
1064:
1057:
1053:
1047:
1029:
1025:
1021:
1003:
999:
992:
987:
983:
978:
976:
972:
966:
962:
961:. Bar 10 of
958:
939:
935:
931:
925:
919:
913:
910:
906:
901:
878:Anton Webern
871:
856:tuberculosis
853:
836:Kenzaburō Ōe
821:
817:
812:
804:
798:
796:J. S. Bach's
787:
784:Dream/Window
783:
779:
774:
749:
747:
741:
737:
733:
729:
725:
721:
718:
713:
707:
701:
693:
688:
684:
680:
676:
674:
669:
665:
652:
647:
643:
637:
634:
617:
583:
572:
568:
564:
562:
556:
552:
548:
544:
542:
529:
525:
507:
500:
488:
486:
477:
473:
467:
461:
457:
451:
441:
435:
429:
417:
405:
401:
396:
386:
383:Anton Webern
379:Coral Island
378:
376:
371:
365:
361:
357:
347:
333:
312:
310:
294:Vocalism A·I
293:
289:
281:
258:
256:
249:
236:
222:
219:
215:
192:
168:
166:
155:
153:
145:music theory
114:
113:
108:
67:(1996-02-20)
54:Hongō, Tokyo
18:
5000:1996 deaths
4995:1930 births
4903:Ichiko Aoba
4741:Masaru Sato
4737:(1991-1992)
4678:Ryudo Uzaki
4666:Masaru Sato
4654:Masaru Sato
4597:Masaru Sato
4566:(1961-1962)
4558:Masaru Sato
4500:(1946-1949)
4375:Tony Gatlif
4254:Benoît Lamy
4244:Pekka Lehto
4084:York Höller
4024:Thomas Adès
3964:Chinary Ung
3556:MusicBrainz
2932:Takemitsu,
2663:Anderson, i
2557:Rain Coming
2412:Takemitsu,
1685:Seiji Ozawa
1663:Fred Sherry
1515:ensembles.
1501:Water Music
1456:Water Music
1185:ensembles.
1154:Garden Rain
902:kaiyu-shiki
805:Family Tree
776:Pedal notes
770:Jiří Kylián
742:Rain Coming
730:Rain Coming
657: [
618:Eucalypts I
610:Paul Sacher
514:Betsy Jolas
493:Seiji Ozawa
292:(1955) and
260:Jikken Kōbō
157:Jikken Kōbō
81:Occupations
4989:Categories
4078:Brett Dean
4048:Unsuk Chin
4000:John Adams
3988:Karel Husa
3970:Joan Tower
3888:2022
3882:2020
3876:2018
3870:2015
3864:2013
3858:2011
3852:2008
3846:2005
3840:2002
3834:1999
3828:1996
3822:1993
3816:1990
3810:1987
3531:Shogakukan
3457:(Thesis).
3168:Richie, 7.
3159:Richie, 5.
3042:Burt, 118.
2461:Burt, 170.
2403:Burt, 111.
2394:Burt, 112.
2215:: 63–77 .
1916:References
1703:) and the
1604:Film music
1575:media help
1478:media help
1384:quotations
1373:tremolandi
1227:8 Préludes
1085:shakuhachi
1012:portamento
1008:enharmonic
1004:shakuhachi
921:shakuhachi
866:See also:
598:Lukas Foss
545:shakuhachi
478:shakuhachi
463:shakuhachi
242:technology
141:aesthetics
126:pronounced
4967:Biography
4723:Kōji Ueno
4648:Yuji Ohno
4444:Mica Levi
4432:Dan Romer
4414:Lim Giong
4230:Ry Cooder
4138:Lei Liang
4132:Joël Bons
3935:laureates
3441:144324971
3433:0749-4467
3359:194056784
3351:0749-4467
3069:Burt, 43.
2923:Burt, 154
2875:Burt, 31.
2732:Burt, 62.
2723:Burt, 24.
2714:Burt, 22.
2497:Rolf Hind
2485:Arc/Green
2358:Burt, 94.
2349:Burt, 92.
2320:Burt, 71.
1921:Citations
1645:Composer
1525:John Cage
1497:Stanza II
1420:Example 5
1412:, 1987).
1294:puts it:
1244:octatonic
1230:(through
1198:Example 4
1178:hichiriki
1135:Example 3
1069:anacrusis
1022:Example 2
1000:Masques I
959:Example 1
840:pneumonia
762:Australia
750:Dreamtime
726:Rain Tree
624:, oboist
350:John Cage
184:Biography
167:His 1957
109:Takemitsu
4885:Radwimps
4870:Kotringo
4324:Vangelis
4278:) (1989)
4250:) (1986)
4236:) (1986)
4226:) (1985)
4216:) (1985)
3836:Yo-Yo Ma
3747:Category
3509:. 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:. In
685:Green
677:Green
661:]
644:Waves
639:Voice
590:Osaka
195:Tokyo
189:Youth
4276:BUMF
4242:and
4224:BUEM
3586:WNIB
3565:IMDb
3486:ISBN
3474:2011
3429:ISSN
3398:ISBN
3372:ISBN
3347:ISSN
3285:ISBN
3111:ISBN
2986:ISBN
2841:2007
2705:, 4.
2676:, 5.
2474:, 83
2305:ISBN
2269:2011
2256:ISBN
2172:ISBN
2070:2012
1989:ISBN
1844:ISBN
1732:愛の亡霊
1509:and
1352:Jeux
1349:and
1324:and
1081:biwa
1058:for
991:and
927:biwa
924:and
736:and
728:and
687:(or
664:for
549:biwa
476:and
474:biwa
472:for
458:biwa
456:for
437:biwa
370:and
362:Ring
304:and
267:実験工房
223:only
143:and
121:武満 徹
62:Died
47:Born
4248:BAM
4234:BOM
4214:BMD
3584:on
3563:at
3421:doi
3339:doi
3310:doi
2612:",
2608:. "
2217:doi
1892:doi
1748:Ran
1701:Ran
1623:Ran
1620:'s
1378:In
1314:'s
1204:'s
1181:in
1168:shō
1159:shō
1152:In
1140:shō
984:ryō
760:of
588:in
499:'s
321:NHK
107:is
32:武満徹
4991::
3435:.
3427:.
3417:21
3415:.
3353:.
3345:.
3335:21
3333:.
3316:.
3306:29
3304:.
3262:,
3109:.
3095:;
3083:^
2984:.
2970:;
2903:^
2889:^
2859:^
2513:^
2387:^
2325:^
2246:,
2223:.
2207:.
2170:.
2156:;
2115:^
2098:^
2085:,
2056:.
2037:.
2016:.
2004:^
1987:.
1973:;
1943:^
1789:写楽
1772:利休
1600:.
1512:nō
1107:ma
1103:nō
1099:ma
1090:ma
1073:in
1056:,
1034:in
1028:,
986:,
965:,
884:,
880:,
876:,
846:.
772:.
659:ja
632:.
600:,
547:,
512:,
505:.
484:.
460:,
387:ma
270:,
124:,
4931::
4479:e
4472:t
4465:v
4274:(
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4232:(
4222:(
4212:(
4191:e
4184:t
4177:v
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3910:v
3792:e
3785:t
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3608:t
3601:v
3577:.
3476:.
3443:.
3423::
3406:.
3380:.
3361:.
3341::
3324:.
3312::
3293:.
3202:.
3121:
3119:.
2996:
2994:.
2845:.
2843:.
2644:.
2495:/
2491:/
2311:.
2231:.
2219::
2209:9
2182:
2180:.
2072:.
2022:.
1999:
1997:.
1894::
1852:.
1792:)
1786:(
1775:)
1769:(
1758:)
1755:乱
1752:(
1735:)
1729:(
1577:.
1480:.
1339:(
277:)
264:(
118:(
111:.
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