TAKEMITSU TŌRU AND HIS MUSIC – IS IT REALLY JAPANESE (AFTER ALL)?

Main Article Content

Małgorzata Wolniak

Abstract

Takemitsu Toru is one of the most prominent and recognizable Japanese contemporary composers. The composer is famous for his skill of combining the elements of traditional Japanese music with Western style composition. The article presents his career, inspirations, Japanese aesthetics such as ma and sawari. His perception of music and his relation to Japanese music and traditional instruments in comparison to the Western music traditions is also described.

Downloads

Download data is not yet available.

Article Details

How to Cite
Wolniak, M. (2016). TAKEMITSU TŌRU AND HIS MUSIC – IS IT REALLY JAPANESE (AFTER ALL)?. Porównania, 18, 283-304. https://doi.org/10.14746/p.2016.18.10719
Section
Articles

References

  1. Burt Peter. The Music of Tōru Takemitsu. Cambridge: Cambridge University Press, 2001.
  2. Dunlap Matthew. A performer’s guide to Tōru Takemitsu’s In the woods. Tallahassee: Florida State Univerity, 2008.
  3. Fujii Koichi. „Chronology of early electroacoustic music in Japan: What types of source materials are available?”. Organised Sound, vol. 9, no. 1 (Kwiecień, 2004).
  4. Gianmario Borio. „Music Facing Up to Silence”. Writings on Tōru Takemitsu. Red. Galliano Luciana. Pawia: Pavia University Press, 2010.
  5. Holderer Michael J. Japanese Western Classical Music from the Meiji to the Modern Era. Austin: The University of Texas, 2009.
  6. Holmes Thomas. Electronic and Experimental Music (3rd edition). Nowy Jork: Taylor & Francis, 2008.
  7. Hughes Allen. „Concert: Takemitsu, Tashi and Ozawa”. New York Times (1997).
  8. James Joyce, Finneganów tren. Tłum. Krzysztof Bartnicki. Kraków: Wydawnictwo i Księgarnia Korporacja Ha!art, 2012.
  9. Kusahara Machiko. „Orgins of Japanese media art- artist embracing technology from 1950’s to early 1970’s”. Odczyt z <http://isea2011.sabanciuniv.edu/paper/origins-japanese-media-art-%E2%80%93-artists-embracing-technology-1950s-early-1970s>
  10. Music from the Movies: Tōru Takemitsu. Reż. Charlotte Zwerin. Sony Classical Essential Classics, 1994.
  11. Robinson Elizabeth. Voice, Itinerant, and Air: A Performance and Analytical Guide to the Solo Flute Works of Toru Takemitsu. Municie: Ball State Univeristy, 2011.
  12. Sakamoto Mikiko. Takemitsu and the Influence of ‘Cage Shock’: Transforming the Japanese Ideology into Music. Lincoln: University of Nebraska, 2001.
  13. Sakata Lorraine. „The comperative analysis od sawari on the shamisen”. Ethnomusicology, vol. 10 no. 2 (Maj 1966).
  14. Schaeffer Pierre. À la recherche d’une musique concrète. Paryż: Seuil, 1952.
  15. Takemitsu Tōru. Ki no kagami, Sōgen no kagami (Lustro drzewa lustro trawy). Tōkyō: Shinchōsha, 1975.
  16. Takemitsu Tōru. Tōi Yobigoe no Kanata e (Za Dalekimi Zawołaniami). Tōkyō: Shinchōsha, 1996.
  17. Takemitsu Tōru. Confronting Silence: Selected Wraitings. Tłum. KakudoY., Glasgow G. Berkley: Fallen Leaf Press, 1995.
  18. Takemitsu Tōru. „Contemporary Music in Japan”. Perspectives of New Music, vol. 27 no. 2 (1989).
  19. Takemitsu Tōru. „Mirrors”. Perspetives of New Music vol. 30 no.1 (1992). Tłum. Adachi S., Reynoldss R.
  20. Takemitsu Tōru, Ogawa Seiji. Ongaku (Muzyka). Tōkyō: Shinchōsha, 1981.
  21. Takemitsu Tōru. Ongaku o Yobimasu Mono (Przywołując muzykę). Tōkyō: Shinchōsha, 1985.
  22. Takemitsu Tōru, Cronin Tania, Tann Hilary. „Afterword”. Perspectives of New Music, vol. 27 no. 2 (Summer 1989).
  23. Tezuka Miwako. „Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji”, Art Journal, vol. 70 No. 3 (2011).
  24. Tōru Takemitsu. „Toru Takemitsu: My music is like a garden, and I am the gardener” [Takemitsu Toru: Moja muzyka jest ogrodem a ja jestem ogrodnikiem]. Wywiad przeprowadzony przez Karsten Witt. Wiedeń, 4.11.1993, Soundtrack! Magazine, 1996.