Crosscurrents in Early Electronic Music of Japan

Episode 103

Crosscurrents in Early Electronic Music: Japan

Playlist

Experimental Music of Japan (1968 Victor)

Album produced and recorded at the NHK Electronic Studio and supervised by K. Akiyama and W. Uenami. The tracks have been slightly reordered to represent the correct chronology of the works.

1. Toshiro Mayuzumi and Makoto Moroi, “Variations Sur” (1956) from (1968 Victor). On this album, this piece was called the first work of electronic tape music produced in Japan. Not so. I know of five earlier works (by the NHK Studio engineers, Mayuzumi, and Shibata) dating back to 1954-1956. This work is also known as “Variations on the Numerical Principle of Seven” and actually dates to 1956, unlike what the liner notes tell us. I have two of those works in the archive and will feature them in a future episode. 14:54
2. Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958) from Experimental Music Of Japan (1968 Victor). 3:22
3. Joji Yuasa, “Projection Esemplastic (For White-Noise)” (1964) from Experimental Music Of Japan (1968 Victor). 7:40
4. Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965) from Experimental Music Of Japan (1968 Victor). 9:53
5. Toshi Ichiyanagi, “Situation (For Biwa, Koto, Violin, Double Bass, Piano and Multiplier)” (1966) from Experimental Music Of Japan (1968 Victor). 6:31
6. Toshiro Mayuzumi, “Campanology (For Multi-Piano)” (1967) from Experimental Music Of Japan (1968 Victor). 8:01

 

Group Ongaku (2011 Seer Sound Archive)

Remastered at Inoue Onkyo Kikaku by Kazuya Sakagami, Yukio Fujimoto.

1. Group Ongaku, “Automatism” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno’s house. This is the recording of a live performance for which the players used a piano, a pedal organ, a cello, alto saxophone and various everyday objects such as a vacuum cleaner, radio, an oil drum, dolls, and a set of dishes. The music was spontaneously created and recorded in real-time. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 26:20
2. Group Ongaku, “Object” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno’s house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 7:34
3. Group Ongaku, “Metaplasm 9-15” Parts 1 and 2 (1961) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on September 15, 1961, at Sogetsu Kaikan Hall, Tokyo. Performers: Cello, Mikio Tojima; Cello, Drums, Tape, Shukou Mizuno; Guitar, Genichi Tsuge; Piano, Chieko Shiomi; Saxophone, Tape, Yasunao Tone; Violin, Saxophone, Tape, Takehisa Kosugi. Part 1, 14:16; Part 2, 11:26.

Opening background music, Makoto Moroi, “Shōsanke” for electronic sounds and Japanese traditional instruments (1968) from Experimental Music Of Japan '69 (no. 2) (1969 Victor). Issued also as part of the Prospective 21e siècle series, both Electronic Panorama: Paris, Tokyo, Utrecht, Warszawa Box-Set and self-contained Japanese Electronic Music LP. 13:20.

Opening and closing sequences voiced by Anne Benkovitz.

Additional opening, closing, and other incidental music by Thom Holmes.

See my companion blog that I write for the Bob Moog Foundation.

For additional notes, please see my blog, Noise and Notations.