The music of Toru Takemitsu

2002 ◽  
Vol 39 (07) ◽  
pp. 39-3883-39-3883
Keyword(s):  
Toru Takemitsu

Peter Burt, The Music of Toru Takemitsu

2005 ◽  
Vol 23 (1) ◽  
pp. 129-142
Author(s):  
Charles Wilson
Keyword(s):  
Toru Takemitsu

Beat and Square Cold War Encounters

2019 ◽  
pp. 317-371
Author(s):  
W. Anthony Sheppard
Keyword(s):  
Cold War ◽  
American Composers ◽  
Henry Cowell ◽  
Duke Ellington ◽  
Japanese Music ◽  
Primary Focus ◽  
The Cold War ◽  
Lou Harrison ◽  
Toru Takemitsu

This chapter is focused on the transnational influences of Japanese music during the Cold War and on music’s role in U.S. cultural diplomacy efforts aimed at Japan. This includes examples of numerous American jazz musicians (David Brubeck, Duke Ellington, Herbie Mann) who were sent to Japan and who created musical “impressions” of their experience. A primary focus in on the 1961 Tokyo East-West Music Encounter organized by Nicolas Nabokov and attended by multiple American composers (Lou Harrison, Henry Cowell, Colin McPhee) and scholars (Robert Garfias). The chapter then details the broad influence of gagaku on European (Messiaen, Stockhausen, Xenakis) and American composers, focusing particularly on Alan Hovhaness. Experimental composers, such as Richard Teitelbaum, inspired by John Cage’s engagement with Zen also turned toward Japan. The chapter concludes with an extended discussion of the role of Japanese music and Japanese composers (particularly Toru Takemitsu) in the career of Roger Reynolds.

Toru Takemitsu?s November Steps

2002 ◽  
Vol 31 (3) ◽  
pp. 211-220 ◽  
Author(s):  
Lewis Cornwell
Keyword(s):  
November Steps ◽  
Toru Takemitsu

L'ouïe film de Toru Takemitsu

Vertigo ◽  
2008 ◽  
Vol 34 (2) ◽  
pp. 8
Author(s):  
Philippe Fauvel
Keyword(s):  
Toru Takemitsu

‘Filming the invisible’: Barrie Gavin in conversation with John Wyver

2021 ◽  
Vol 9 (1) ◽  
pp. 15-28 ◽  
Author(s):  
John Wyver
Keyword(s):  
Working Relationships ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Music Television ◽  
Toru Takemitsu ◽  
Innovative Approaches ◽  
The Invisible

Barrie Gavin (b. 1935) is a celebrated producer, director and writer who is best known for numerous programmes about music and musicians made primarily for BBC Television from 1964 onwards. He worked on numerous occasions with the conductors Pierre Boulez and Simon Rattle, and with them and other collaborators he has directed more than 90 films. In this conversation recorded in Leeds in June 2018 Gavin discusses with the writer and producer John Wyver his ideas about making music television, his innovative approaches to filmmaking, his profiles of composers including Luigi Nono, Karlheinz Stockhausen and Toru Takemitsu, and his working relationships with Boulez and Rattle.

scholarly journals Técnica estendida para flauta transversal e criatividade transformacional

Opus ◽  
2019 ◽  
Vol 25 (3) ◽  
pp. 474
Author(s):  
Marta Cardoso Castello Branco ◽  
João Queiroz
Keyword(s):  
Toru Takemitsu

O sistema Boehm fornece um padrão estável para construção da flauta transversal, criando um espaço estruturado de ideias concebíveis. Este espaço está relacionado ao incremento tecnológico, metalúrgico e ao desenvolvimento de chaves e sapatilhas na flauta. O sistema incorpora uma “disposição para ação”, ou um “padrão estruturado de restrições”. O surgimento de técnicas estendidas para flauta transversal constitui um caso exemplar para investigação de fenômenos de criatividade transformacional, de sua dependência de artefatos cognitivos (notações e instrumentos) e da transformação produzida em espaços conceituais específicos. Mas a expansão técnica atua com grande variabilidade. Nós examinamos aqui exemplos paradigmáticos do repertório de técnicas estendidas para flauta transversal. Na obra Voice, de Toru Takemitsu (1971), a técnica estendida foi desenvolvida a partir de parâmetros vocais relacionados à fala, enquanto em Das atmende Klarsein (1981), de Luigi Nono, a escrita para flauta é transformada pelo aparato eletrônico. Nestes casos, observamos episódios de criatividade transformacional, que correspondem à criação de espaços conceituais, cuja continuidade se observa no repertório posterior para o instrumento.

scholarly journals »Ko bom velik, bom umetnik.«　Eksperimentalni peskovnik japonske avantgarde

Asian Studies ◽  
2017 ◽  
Vol 5 (1) ◽  
pp. 243-269 ◽  
Author(s):  
Klara HRVATIN
Keyword(s):  
Toru Takemitsu

Umetniški center Sōgetsu, ki je eden od pomembnejših avantgardnih središč 60. let 20. stoletja, bi lahko opredelili kot umetniški »eksperimentalni peskovnik«. Japonski umetniki, ki so na svojih področjih danes že mednarodno priznani, so se prav v tem »peskovniku« imeli možnost preizkusiti v krogu interdisciplinarnih umetnikov in najti svoj umetniški slog. Dober primer takšnih ustvarjalcev so: filmski režiser Hiroshi Teshigahara (1927–2001), novelist Kōbō Abe (1924–1993) in glasbenik Tōru Takemitsu (1930–1996).V članku bomo orisali natančen pregled vseh umetniških združenj in njihovih dogodkov, ki so jih oblikovali umetniki v času delovanja Centra, od septembra 1958 (13. septembra je potekalo odprtje Centra) do marca 1971, ko je Center prenehal delovati. V ospredje bodo postavljena glavna združenja oziroma aktivnosti, predvsem s področij jazzovske glasbe, sodobne glasbe, eksperimentalnih filmov in animacije. Poiskali bomo skupen imenovalec vseh aktivnosti v tem »peskovniku« ter poudarili novosti, ki so jih glavni akterji gibanja z deli, ki so nastala v Centru, vnesli na področji glasbe in filma.

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