<p>This show about Takemitsu's movie music, "Visions in Time,"
organized by Tokyo Opera City Cultural Organization, seems to be taking place
right
now:</p><p>http://www.operacity.jp/ag/topics/060316.php</p><p>http://www.operacity.jp/ag/exh72/index.html
(Japanese/English)</p><p>According to the site, Takemitsu composed over 100
movie soundtracks. At this show, the Organization came up with an exhibition
and 21 programs based on the survey it conducted among 200 close friends and
associates. The show also includes some rarely shown pieces. Catalogue is on
sale.</p><p>Asako</p><p>At Mon, 28 Apr 2008 12:14:02 +0200, Mathieu Capel
wrote:<br />
<br />
> Hello,<br />
><br />
> I'm jumping a little bit late into the conversation, but I wanted to<br />
> point some more references out about Takemitsu's works. Unfortunately,<br
/>
> I don't know the Takemitsu zenshu's box, and I assume that you may<br />
> find everything you need in there...<br />
><br />
> Anyway, I think Takemitsu Toru's works in the 60's shall not be<br />
> severed from Teshigahara's Sogetsu Art Center, what was the key place<br />
> for experimentations in music, with performances by other infamous<br />
> composers, Ichiyanagi Toshi, Takahashi Yûji and the likes (including<br />
> the jazz avant-garde).<br />
> The relationship between Teshigahara and Takemitsu are reported to<br />
> have been very close, and I wonder if the ideas (or ideals) Takemitsu<br />
> wanted to develop, his conceptions of a film score, were not achieved<br />
> when working with Teshigahara... For Takemitsu was considering film<br />
> score as a whole (or totality), beginning with the first image of the<br />
> film and ending with the end title = i.e. Takemitsu, of course, did<br />
> considered silent (w.o music) scenes as a part of the score, and I<br />
> think that his work as a composer for film was about editing as well.<br />
> When possible, he would decide himself where music was to be heard,<br />
> which scenes should be sustained or not by music, etc.<br />
> Teshigahara's White morning is kind of representative of this<br />
> tendancy, for the editing of this short movie seems to have been<br />
> conceived from the editing of several hours of Takemitsu's field<br />
> recordings itself...<br />
> One interesting example to the contrary may be the "failure" of
the<br />
> collaboration between Yoshida Kijû and Takemitsu for 1964's Escape<br />
> from Japan, for Yoshida would not let him decide for editing music.<br />
> Anyway, Escape from Japan's score is very exciting - but was credited<br />
> to two people, Takemitsu and Yagi Masao... (In 1988, Yoshida and<br />
> Takemitsu finally worked together again for Arashigaoka/Wuthering<br />
> heights, and Yoshida even wrote in 1981 an interesting paper about<br />
> Takemitsu : "Mushirareta niwatori no umo to Takemitsu Toru no inner<br
/>
> sound")<br />
><br />
> Anyway, maybe should you take a look to 2003 catalogue for Sogetsu art<br
/>
> center, "Kagayake 60 nendai", where you can find many
informations<br />
> about Takemitsu as well as Takemitsu's original contributions (I<br />
> assume that eveything can be read in the Takemitsu zenshû too... but<br />
> it may be interesting to compare with the works and writings of other<br />
> composers (?)...)<br />
> The japanese edition of Teshigahara's works also features an<br />
> interesting article about Takemitsu from "sound & visual
writer"<br />
> Maejima Hidekuni (is it the good transcription for ???? ?)...<br />
><br />
> Everything's in Japanese, but if you find someone kind enough to...<br />
><br />
> Mathieu Capel<br />
> Paris<br />
><br />
><br />
><br />
><br />
><br />
> 2008/4/25, Angelo Masucci <amasucci@gmail.com>:<br />
>> Thanks again to everyone for your help.<br />
>><br />
>> Angelo Masucci<br />
>><br />
>><br />
>> On Thu, Apr 24, 2008 at 8:14 PM, <asako_Yoshida@umanitoba.ca>
wrote:<br />
>> ><br />
>> ><br />
>> > Dear Prof. Hall,<br />
>> ><br />
>> > Thank you very much for this. Here is the link to the WorldCat
record:<br />
>> ><br />
>> ><br />
>> <a target="_blank"
href="http://www.worldcat.org/oclc/53348108&referer=brief_results">http://www.worldcat.org/oclc/53348108&referer=brief_results</a><br
/>
>> ><br />
>> ><br />
>> ><br />
>> > Asako<br />
>> ><br />
>> ><br />
>> ><br />
>> ><br />
>> > At Thu, 24 Apr 2008 12:58:40 -0700, Jonathan M. Hall wrote:<br />
>> ><br />
>> > > WorldCat lists the Zenshu in the following Libraries.<br />
>> > ><br />
>> > > UNIV OF ARIZONA<br />
>> > > LIBRARY OF CONGRESS<br />
>> > > UNIV OF CHICAGO<br />
>> > > HARVARD UNIV, LOEB MUSIC LIBR<br />
>> > > UNIV OF HONG KONG LIBR<br />
>> > ><br />
>> > > The University of California Irvine Library ordered this
tremendous<br />
>> > > resource last year--thankfully before the drop in the
dollar-- but<br />
>> > > we're still waiting for it to come in.<br />
>> > > This kind of purchase usually needs special approval, so
please<br />
>> > > consider submitting it if your local university library has
public<br />
>> > > calls for large-item acquisitions.<br />
>> > ><br />
>> > > JMH<br />
>> > ><br />
>> > ><br />
>> > ><br />
>> > ><br />
>> > > On Apr 24, 2008, at 7:26 AM, Peter Grilli wrote:<br />
>> > ><br />
>> > >> Angelo & Asako:<br />
>> > >><br />
>> > >> The 5-volume set called "The Complete Toru
Takemitsu" (Takemitsu<br />
>> > >> Zenshu), referred to by Asako Yoshida, is a superb
compilation of<br />
>> > >> music, books, letters, essays, film materials, and
other<br />
>> > >> information about Takemitsu.<br />
>> > >> It's beautifully packaged in five boxes, published by
Shogakkan,<br />
>> > >> and it includes 55 CDs of Takemitsu music and five
books.<br />
>> > >><br />
>> > >> Unfortunately, however, it's almost totally in Japanese.
(There<br />
>> > >> are some concert reviews and incidental writings in
English -- but<br />
>> > >> everything else is in Japanese.)<br />
>> > >><br />
>> > >> Angelo, if you read Japanese this is a gold mine!<br />
>> > >> If you don't, you should find someone who does read
Japanese, first<br />
>> > >> to help you select the material directly relevant to
your<br />
>> > >> research. Then, beg that person to translate that
material for you.<br />
>> > >><br />
>> > >> I can send you a catalogue describing the contents of the
5-volume<br />
>> > >> "Complete Takemitsu" -- but the catalogue
itself is also completely<br />
>> > >> in Japanese. Here's a rough breakdown of the contents
of the 5<br />
>> > >> boxed volumes:<br />
>> > >><br />
>> > >> I. Orchestral Works (includes 12 CDs)<br />
>> > >> II. Instrumental Works, Chamber Music, and Choral Music
(includes 11<br />
>> CDs)<br />
>> > >> III. Music for the Movies, 1 (10 CDs) -- This box
includes music<br />
>> > >> from about 60 films, composed between 1952 and 1969.
Since you're<br />
>> > >> working on Takemitsu's music for New Wave movies, this is
the<br />
>> > >> material most relevant to your needs.)<br />
>> > >> IV. Music for the Movies, 2 (10 CDs) -- includes music
from Toru's<br />
>> > >> last 39 film scores (1970-95)<br />
>> > >> V. Popular Music, Tape Music, Incidental Music for
Theater Works,<br />
>> > >> TV, and Radio, Addenda. (12 CDs)<br />
>> > >><br />
>> > >> I was a member of the editorial advisory group for this
project,<br />
>> > >> and I lobbied hard for an English version -- or, at
least, English<br />
>> > >> translations of some of the key written materials.
But<br />
>> > >> unfortunately I was overruled by budgetary
considerations.<br />
>> > >> Still, this is an extremely valuable compilation of
Takemitsu music<br />
>> > >> and information about him and his work (both his musical
works and<br />
>> > >> his theoretical and philosophical writings). It should
be part of<br />
>> > >> every serious academic music library.<br />
>> > >><br />
>> > >> Good luck with your research!<br />
>> > >><br />
>> > >> Peter Grilli<br />
>> > >><br />
>> > >><br />
>> > >> -----Original Message-----<br />
>> > >> From: owner-KineJapan@lists.acs.ohio-state.edu<br />
>> [mailto:owner-<br />
>> > >> KineJapan@lists.acs.ohio-state.edu]On Behalf Of<br />
>> > >> Asako_Yoshida@Umanitoba.ca<br />
>> > >> Sent: Thursday, April 24, 2008 9:27 AM<br />
>> > >> To: KineJapan@lists.acs.ohio-state.edu<br />
>> > >> Subject: Re: Toru Takemitsu and the Films of the Japanese
New Wave<br />
>> > >><br />
>> > >> Hi Angelo,<br />
>> > >><br />
>> > >> I'm a great fun of his music myself. When I Googled, I
found an<br />
>> > >> interesting 5-volume publication about Takemitsu and his
art which<br />
>> > >> came out in 2002: Takemitsu Toru Zenshu from Shogakkan
(http://<br />
>> > >> www.shogakukan.co.jp/takemitsu/all/05.html).<br />
>> > >><br />
>> > >> The publication tries to gather many unpublished or not
well noted<br />
>> > >> among Japanese audiences in one collection. It, for
example,<br />
>> > >> includes an essay by Shinoda, if you can read Japanese.
The page<br />
>> > >> above includes Table of Contents and indicates that the
materials<br />
>> > >> written by Donald Richie, Daniel Shmid, and Peter Grilli
gathered<br />
>> > >> in the collection might be related to his movie music..<br
/>
>> > >> Unfortunately, worldcat does not include this
publication, but you<br />
>> > >> can draw some hints from the page and search worldcat to
see what<br />
>> > >> might be available and accessible here. For example, I
found a<br />
>> > >> collection of interviews including Takemitsu himself in
this DVD<br />
>> > >> through worldcat:<br />
>> > >><br />
>> > >><br />
>> <a target="_blank"
href="http://www.worldcat.org/oclc/174128399&referer=brief_results">http://www.worldcat.org/oclc/174128399&referer=brief_results</a>,<br
/>
>> > >><br />
>> > >> or VHS:<br />
>> > >><br />
>> <a target="_blank"
href="http://www.worldcat.org/oclc/222789680&referer=brief_results">http://www.worldcat.org/oclc/222789680&referer=brief_results</a><br
/>
>> > >><br />
>> > >> Cheers,<br />
>> > >><br />
>> > >><br />
>> > >> Asako<br />
>> > >><br />
>> > >><br />
>> > >><br />
>> > >> At Thu, 24 Apr 2008 00:19:49 -0400, Angelo Masucci
wrote:<br />
>> > >><br />
>> > >>> Hi, my name is Angelo Masucci and I just signed on.
I'm a graduate<br />
>> student<br />
>> > >>> at the New School University here in New York City
and am now<br />
>> > >> taking a class<br />
>> > >>> on Japanese New Wave Film.<br />
>> > >>><br />
>> > >>> I'm about to begin a research paper on the role of
Toru Takemitsu's<br />
>> > >> music in<br />
>> > >>> a few of the films of the Japanese New Wave (Crazed
Fruit, Double<br />
>> Suicide,<br />
>> > >>> and probably Woman in the Dunes). Unfortunately, in
doing my research<br />
>> I'm<br />
>> > >>> discovering that there is little out there on
Takemitsu's film work.<br />
>> The<br />
>> > >>> majority of the books and articles I cam across focus
primarily on<br />
>> his<br />
>> > >>> orchestra pieces which are outside the scope of what
I'm looking to<br />
>> do. I<br />
>> > >>> know there's a short documentary on his film work
which is useful,<br />
>> but I'm<br />
>> > >>> very much in need of some deeper material.<br />
>> > >>><br />
>> > >>> I'm wondering if anyone could point me in the
direction of some<br />
>> materials<br />
>> > >>> that might be useful.<br />
>> > >>><br />
>> > >>> Thank you in advance,<br />
>> > >>><br />
>> > >>> Angelo Masucci<br />
>> > >>><br />
>> > >><br />
>> > >><br />
>> > >> Asako Yoshida<br />
>> > >> Reference Services<br />
>> > >> Elizabeth Dafoe Library<br />
>> > >> University of Manitoba<br />
>> > >> Asako_Yoshida@Umanitoba.ca<br />
>> > >> (204) 474-6591<br />
>> > >><br />
>> > >> "Education is not the filling of a pail, but the
lighting of a fire."<br />
>> > >> -- William Butler Yeats<br />
>> > >><br />
>> > >> "Banking education treats students as objects of
assistance;<br />
>> problem-posing<br />
>> > >> education makes them critical thinkers."<br />
>> > >> --Paulo Freire<br />
>> > >><br />
>> > >> "He who would learn to fly one day must first learn
to stand and<br />
>> > >> walk and run<br />
>> > >> and climb and dance; one cannot fly into flying."<br
/>
>> > >> "Necessity is not an established fact, but an
interpretation."<br />
>> > >> -- Frederich Nietzsche<br />
>> > >><br />
>> > >> "What strikes me is the fact that in our society,
art has become<br />
>> something<br />
>> > >> which is only related to objects, and not to individuals,
or to life."<br />
>> > >> -- Michel Foucault<br />
>> > >><br />
>> > >> "The idea that we can manage our world is uniquely
twentieth- century<br />
>> and<br />
>> > >> chiefly American."<br />
>> > >> -- David Weinberger<br />
>> > >><br />
>> > >> "Creators here and everywhere are always and at all
times building<br />
>> upon the<br />
>> > >> creativity that went before and that surrounds them
now."<br />
>> > >> -- Lawrence Lessig<br />
>> > >><br />
>> > >> "...in a network, the knowledge is emergent. The
knowledge is not<br />
>> > >> in any given<br />
>> > >> individual, but it's a property of the network as a
whole.<br />
>> > >> Consequently, it's a<br />
>> > >> knowledge that cannot, does not, exist in any individual,
but only in<br />
>> the<br />
>> > >> network as a whole. It's emergent."<br />
>> > >> -- Stephen Downes<br />
>> > >><br />
>> > >> "When they develop a design, 'We capture a concrete
individual<br />
>> perspective<br />
>> > >> rather than focusing on an average target image drawn
from<br />
>> > >> marketing data'...<br />
>> > >> The design hint resides in specific individuals'
perspectives."<br />
>> > >> -- "Design matters,because it's all about me,"
December 18, 2007,<br />
>> > >> Nikkei Design.<br />
>> > >><br />
>> > >> About learning and "information overload":
"It's a river, not a<br />
>> > >> reservoir......<br />
>> > >> filter, sift, select, and organize...."<br />
>> > >><br />
>> > >><br />
>> ><br />
>> ><br />
>> > Asako Yoshida<br />
>> > Reference Services<br />
>> > Elizabeth Dafoe Library<br />
>> > University of Manitoba<br />
>> > Asako_Yoshida@Umanitoba.ca<br />
>> > (204) 474-6591<br />
>> ><br />
>> > "Education is not the filling of a pail, but the lighting of
a fire."<br />
>> > -- William Butler Yeats<br />
>> ><br />
>> > "Banking education treats students as objects of
assistance;<br />
>> problem-posing<br />
>> > education makes them critical thinkers."<br />
>> > --Paulo Freire<br />
>> ><br />
>> > "He who would learn to fly one day must first learn to stand
and walk and<br />
>> run<br />
>> > and climb and dance; one cannot fly into flying."<br />
>> > "Necessity is not an established fact, but an
interpretation."<br />
>> > -- Frederich Nietzsche<br />
>> ><br />
>> > "What strikes me is the fact that in our society, art has
become something<br />
>> > which is only related to objects, and not to individuals, or to
life."<br />
>> > -- Michel Foucault<br />
>> ><br />
>> > "The idea that we can manage our world is uniquely
twentieth-century and<br />
>> > chiefly American."<br />
>> > -- David Weinberger<br />
>> ><br />
>> > "Creators here and everywhere are always and at all times
building upon<br />
>> the<br />
>> > creativity that went before and that surrounds them now."<br
/>
>> > -- Lawrence Lessig<br />
>> ><br />
>> > "...in a network, the knowledge is emergent. The knowledge is
not in any<br />
>> given<br />
>> > individual, but it's a property of the network as a whole.
Consequently,<br />
>> it's a<br />
>> > knowledge that cannot, does not, exist in any individual, but only
in the<br />
>> > network as a whole. It's emergent."<br />
>> > -- Stephen Downes<br />
>> ><br />
>> > "When they develop a design, 'We capture a concrete
individual perspective<br />
>> > rather than focusing on an average target image drawn from
marketing<br />
>> data'...<br />
>> > The design hint resides in specific individuals'
perspectives."<br />
>> > -- "Design matters,because it's all about me," December
18, 2007, Nikkei<br />
>> Design.<br />
>> ><br />
>> > About learning and "information overload": "It's a
river, not a<br />
>> reservoir......<br />
>> > filter, sift, select, and organize...."<br />
>> ><br />
>> ><br />
>><br />
>><br />
><br />
><br />
> --<br />
> Mathieu Capel<br />
> 67 rue de la Roquette<br />
> 75011 Paris<br />
> 06 50 32 45 00 / 01 43 79 19 19<br />
> mathieucapel@gmail.com<br />
><br />
<br />
<br />
Asako Yoshida<br />
Reference Services<br />
Elizabeth Dafoe Library<br />
University of Manitoba<br />
Asako_Yoshida@Umanitoba.ca<br />
(204) 474-6591<br />
<br />
"Education is not the filling of a pail, but the lighting of a
fire."<br />
-- William Butler Yeats<br />
<br />
"Banking education treats students as objects of assistance;
problem-posing<br />
education makes them critical thinkers."<br />
--Paulo Freire<br />
<br />
"He who would learn to fly one day must first learn to stand and walk and
run <br />
and climb and dance; one cannot fly into flying." <br />
"Necessity is not an established fact, but an interpretation." <br />
-- Frederich Nietzsche<br />
<br />
"What strikes me is the fact that in our society, art has become something
<br />
which is only related to objects, and not to individuals, or to life."<br
/>
-- Michel Foucault<br />
<br />
"The idea that we can manage our world is uniquely twentieth-century and
<br />
chiefly American."<br />
-- David Weinberger<br />
<br />
"Creators here and everywhere are always and at all times building upon the
<br />
creativity that went before and that surrounds them now."<br />
-- Lawrence Lessig<br />
<br />
"...in a network, the knowledge is emergent. The knowledge is not in any
given<br />
individual, but it's a property of the network as a whole. Consequently, it's
a<br />
knowledge that cannot, does not, exist in any individual, but only in the<br />
network as a whole. It's emergent."<br />
-- Stephen Downes<br />
<br />
"When they develop a design, 'We capture a concrete individual
perspective<br />
rather than focusing on an average target image drawn from marketing data'....<br
/>
The design hint resides in specific individuals' perspectives."<br />
-- "Design matters,because it's all about me," December 18, 2007,
Nikkei Design.<br />
<br />
About learning and "information overload": "It's a river, not a
reservoir......<br />
filter, sift, select, and organize...."<br />
<br />
</p>