| Fallen Leaf Monograps on Contemporary Composer ‘Toru Takemitsu Confron ting Silence Selected Writings Translated and > Yoshio Kakudo With « y ted by lenn Glasow word by Sei Ozawa § The Scarecrow Press, Inc A Fallen Leaf Press Book Lanham, Maryland + Toronto * Oxford ee aCoprgh © 1995 by Fallen Lea Pes, Beeey, Cabfornis Since thi pgs canna eily accra al of te ee DPyight notices, page 156 cm SCARECROW PRESS, INC, Ale La Pre 33k Publ nthe United Sates of America by Scatecrow Drs Ine ‘vl owned ebony of The Rowman LitefeldFubishing Crop, Ine 4501 Fortes Boulevara ute 20, Lnhat, Mrand 2076 ‘wv searecompiaom bray of Congres Catering Pubiation Date (Literay works English, Seeions) ar Confronting silence; selected writings / Toru Takemite; etlted and edited by Yortito Kakat nd eas Gisow; with foreword by Si Ozte 1s Flles Leaf monographs on contemporary compos, 1) leche: tibogaphil riences and inde 1SN091813364 phe alk pape) 3. Musc—Hisory ad ecm. 1, Keio, Yoho. 1. Gistow, Glen, 134- TH Tide Muso.taseri3 195 78020 oss oP. My ©The poe wedi hs ook ct ein in Ae Nelo Standard fr Information Sercee Perera cr rmarence of Peper Pit bry Matin ANSTZ38 8-196, ee Errata ‘Translators’ Preface 2 top line on page: Donald Keen Center should read “Donald 2% next-to-last Line on page: especialy” should read “especialy Jasper Johns: -, paragraph 4, ine 7: "narrow" shoulContents List of Plates vi Foreword vii Author's Preface ix Trandlaton’ Prefe x Barty Warnes Nature and Music (From *A Composer's Dian") 3 On His Contemporaries John Cage 27 Merce Cunningham 32 Jasper Johns 34 Conversation on Seng 36 The Landscape ofthe Scare 46 East anp West On Music A Single Sound 51 The Distance ftom Ueto Biwsl | 53 Noh and Transience 56 Sound of East, Sound of West 59 On Ar Tsam Noguchi—Trneler 69 Redon Fantuy 71 (On His Comrosine: ‘A Personal Approach 79) Notes on November Stepr 83 Mirror and Egg 97 Dream and Number 97 Nato People and Trees 129 Water 132 Recent Warrincs: In Memoriam “Musici Life: John Cage, the Elegent Revolutionary 137 The Passing of Feldman, Nono, and Messiaen 139 Gardener of Time 142 Index 145List of Plates Following page 75 ‘Arcfor String (graphic sore), Plates 1 and 2 Foreword 1am very proud of my fiend Toru Takemitsu, He is the frst Japancse composet to write for a world audience and achieve international rec~ ‘ognition. When I conducted the premiere performance of his November Sep for shakuhachi, biwa, and orchestra, commissioned by the New York Philharmonic, I encountered tadtional Japanese music forthe frst time. In my training a8 a conductor I studied only Western music When I heard that Takemitsu-si's essays were to be published in English translation, T was filed with the hope that many new readers would experience the encounter with the writing of this remarkable composer of our time Sem OzawaAuthor’ Preface “This wolume presents the most extensive English translation of my wrt up to this time. T would be less than hones if I said 1am without fear and uncertainty. In addition, aware of the beauty and ambiguity of the Japanese language, T am concerned about how much ofits nuance will remain in translation, Despite the difficulties, the principal reason I write prose is to gain insight into myself At the same time I want the audiences who hear my ‘music t0 know why I chose composing Western music ax my profession, and how I live and interpret tht time in which I lve, Certainly music ‘may not need words. IF one aiks “it it true that music composition has nothing 0 do with words?” the answer is, “the opposite is true: yes, it does have to-do with words” To give clear shape to amorphous and iregular musical ideas and images, one cannot avoid depending on words. These are not the technical words of music theory but ae instinctive, dramatic, communicative ashes Fr that reason, at émes words are for me a kind of filter of my thoughts, rot the means of communicating events or emotions. In order to be totally immersed in music I cannot neglect vtifistion of my relationship to the world through the use of words, ‘The pieces collected here cover a long pesiod of time, vay in content, and are written ia my peculiar Japanese. T appreciate the difficulties in uansating them, Fortunately my long-time fitende Glenn Glasow and Yoshiko Kakudo, who have a deep understanding of Japanese culture, undertook the trans” lation and editing, I cannot thank them enough. Also, I wish to extend deep appreciation to Ann Basat of Fallen Leaf Pres, and to Mr. Sei Ozawa, who wrote the Foreword to these esuy Tony TaxesrssTranslators’ Preface Japan has undergone recurring waves of foreign inflence, which it has cither rejected, accepted, or modified. OF these outside influences, the ‘most dramatic occurred after 1945: the reongunization of the educational system, the change of attitude towaed the imperial cour, the intense Japanese interest in foreign things and ideas Tn this welter of changes, Toru Takemiteu appeated among. postwar Jepanese musicians, strongly influenced by Wester traditions, Born in 1930, he graduated ffom Telyo Keika High School in 1949. He has described himself as having “studied music composition under Yasuj Kiyoses guidance, but mainly sel taught Tn 1951—together with performers, painters, poets, and several other composers—he organized the Experimental Workshop in Tokyo. In an account of the planning for its fst exhibition, the group, at first provi sionally named Group Atom, described its intentions ‘The purpore of having tht eon iso combine the vatous at fom, reaching sn organic combination tat could not be relied within a gullery exon, and t cee new ale of art with ocialelvence only elt a everyday Jn addition to (1) "Painting," (2) “Objects” and (3) “Balle,” presen tations would includes (4) Mic pefooances af he works in the exibiion pace a acd dates and hous and the paying of records of works by the members or new foegn muss compositions (5) Preseatton of wens sing pros, ors combination of ning objects a usc compositions In the exibition and presentation above-mentioned, the entire xiiton space Frm hole] in which the works a nga imenelated They ae no retented 4 snge ei, 1. The brie bingrapial Jets in thi pefice were akan fom To Tate Index of His War, pba by Scot Japan Ca, Lid 1991. Thi iting nclod work tough May 31,199), appearing inthe copies of Scho Jpan Co, Led, Tolge dios Sather, Pars, tad Unters tions, AG, VimConfonsng Silence Nor ery member approves the mame of the group “Atom, sok Shad Tologchis rages [of he mame “ken Kabor “Bapetmensl Worksop” opted” “This procamation, with ts nterest in multimedia productions rent fom fami ofthe eto ei or const fee cnn vay foreign influences A surmary of performances in the group fix rare sng with cl compere he flowing Ofer Mein (he coeers of his music), Bela Barték, Norman Dello Joi, Esk Soi Darius Milhaud, Armld Schoenberg (a performance of Picwot Lana [1922], presented a second time with staging), Aaron Copland, Leoad Bemsttin, and Samuel Buber! "These concerts suggest a preference for French and Ametian compar es (Repeal in is ater eras, Takemitsu expresses his admiration Debusy and Messiaen) This during the 1950s when Boulez reminded "Schoenberg is Deal" when the age of Webern had been dest sk European composes were concentrating on serial technique, Tn his 130 ‘say “A Peronal Approach’ Takemitsu refers to the “dangerous asp of the ewele-tone technique with its “...mathematical and. geomet ppusuit of sound... In the same essay he recognizes the posabiy tose as an element in composing. One may speculate about the infat ‘ofthe Experimental Workshop on the musical development of Takei but the intense enengy and dedication of its members was obviows ‘The decade of the Expeimental Workshop was important for Ta mits a «composer. By 1960 he had recived comissions fom wk a the Toyo Symphony, won national prizes ftom the Japan Tne ‘Twenteth-Century Music and the Japan Act Festiva, and received Prix alan «competition sponsored by na, the Ttalan radio. Recordi of contemporury music festivals that included his compositions wet 2 Barnet Wok The 10h Beton fn] Homoge o Sa Taig TH San Gilley, 1991, p12 This 15-page ection ataogue of + respect ‘ommenortg the lrtith miveray of the unding of he Expernensal Wet Indl egal php of te funding sce clr spuodusons of tn manures, and Bary of sevens fom 1981 to 1987 A Exper Werks, pp. 104, 108, 114, and 126 Translator’ Preface istibuted by the Japan Information Service for worldwide broadcast ‘This, however, was only an anacruss to a cater that was fo identify Tors Takemitsu as his countrys mest distinguished composer in the second half of the ‘wentcth century Since 1960, TTakemitav’s awards in intemational competitions have incded wo usesco Rostrum of Compoiers Prizes, the Inter Design Grand Prize the Pr Incernatonal Meurce Ravel the Kyoto Music Grand Prize (a distinction shared with John Cage and Olivier Messin), and ‘most recently (1994), the Grawemeyer Award. He has received commis- sions ffom the Koussevitsky Foundation and from the New York Philhar ‘monic on its 125th anniversary. Takemitcu has been invited to international events: with John Cage to the East-West Center in Hawaii io 1964; to the Australian Canberra Festival in 1968; with Stavinsky, Karlene Stockhausen, and Jean-Claude Eley to the Intemational Contemporary Music Week in Paris in 1971; and to the Aldeburgh Festival as compoterin-residence in 1984, A. composer without academic degrees who has never held « teaching Pestion, he has two honorary Doctor of Music degrees and isan honorary ‘member ofboth the Americin Acsdemy and Institute of Arts and Letters and the French Ordre des Arts et des Lettres. He has given guest lectures ‘it Harvard Yale, Boston Universiy, and the University of California at San Diego Takemitsu has always been concerned about Japanese musi, traditional ‘nd contemporary, and is postion inthe greater international context. In 1973 he organized “Music Today,” a series of annual concerts of inter- rational contemporary music performed in Tokyo's Seibu Theater, He served as music director of this series for twenty years. Japanese appre lation of Takemitsus accomplishments has been reflected in a lange umber of national awards, Outside Japan, only in recent years have concert audiences become aware of Toni Takemits’s extensive work a¢a film composer. In the last 4. From she Schot catalogue cited on page x. Agta, thee sled asompih ‘ments in international tue Gls docx sopeet al ofthe compose? aces 2nd commendationConfronting Silence venti yeas he has composed mii for more tha ninety il and fm fected twelve Munich Motion Piete. Awards and 0pm ‘Academy Awards for best film music, In 1987, his music for Abin Kross on recied the Lou Angeles Fm Cites’ Award. Takin tas discussed his atte toward veua-music relationships in + rec documentary flim, Muse forthe Movie Tru Tatemit, produced by Maret Siow, Yoo noes, and Pete Gril Snatestadly eenpaied i alii iwenteth-ceatury compan ‘Takemits as author is relatively unknown outside of Japan, largely because ofthe lack of ranations, Since 1960 he as writen crays and commen: tues (most of them published in Japan) and some of hie lectures hae been tansabed for publiaon, Thee writings cover a wide cange of subj: ans, moves his contemporaine inal ofits manifeations (favorite tpi) aod, of cour, motional and contempory, Ease and Western, fll music, bis own compotion and approach composing The desi of this composer to expres thoughts in prose as well smusc—inded, the importance of words in his own compositional tc nique (he dss in “Dream and Namber)—reminds uv a ie teeth-entny European composer and was not pical of Japanese composes tore the second Tal of this century, Takeru, howeret ches not write progam music, nor does he belie that words explain dt cssence of music. Although he is iin by words, amused by pnt ad homonyms, cersinly iting is more than casual hobby for Hen, Word stimulate his imagination and, inthe lite seme ofthat wond, eve re to images that in tun ase his senibiles in his serch for sound the esence of sie ‘The wings selected by Takemits for inchsion in thie volume wer wien beomeen 1960 and 1993. All hie been pubihed in Japsnce newspapers and pesiadal or as par of hi eollewel ey. The grouping der general headings abo follows the authors suggeation, We hae berowed the til Coyfontng Since fom an eater coletion of his esas! 5. Tor Takers, Ot i Ta Tiegh Chima briny dm Sd ofning St) Translators! Preface We have edited transciptions of speeches at the Donald Keen Center at Columbia University and Studio 200 in Tokyo, to omit repeated comments and asides that seemed inappropriate for the published tran lation. In some technical descriptions, we have changed the author's identification of musical intervals to follow standard Western terminology. Japanese mames appear in the order of given name / family name, following the practice of most Wester translators, who long ago ceased. refering to Bares Bel Documentation presented problems. In some instances we could not etermine the source of a quotation. (The problems that ean arse in ‘tansating a translation are obvious) Insofir as posible, we have tried t0 preserve the unaffected and poetic quality ofthe orginal Japanese. Special Japanese terms are translated and briefly defined at their frst appearance in an essay, and bri definitions accompany entries in the index. We especially wish to thank Nanako Thefiji, President of Schott Japan, Inc, for her valuable advice and assistance. We are grateful for information provided by Peter Grilli and for the editorial antstance of Alden Jenks, The staff of the Music Libray and the East Asiatic Library of the Uni- versity of California at Berkeley were expecially helpful. We alo appreciate the authors patience during the long preparation of this book Yosimko Kaxuno Guam GuasowEarly Writingsa NS te ee Te Nature and Music (from “A Composer's Diary’) a el This summer [1962], walking through the fields of Hokkaido, 1 could not help thinking that my oven thoughts have come to resemble the sidewalks ofa city: rigid and calculated, Standing therein a field with an uninter- rupted view for forty kilometers, I thought that the city, because of its very nature, would some day be outmoded and abandoned as 2 passing phenomenon. The unnatural quality of city life results from an abnormal selling ofthe nerve endings In this way, though, seemingly active, hasnt it also become helpless? A Bfestyle our of balance with nature is frightening. As long as we lve, we appre to harmonize with nature, Its this harmony in which the arts crigiate and to which they will eventually rcurn, Harony, or balance, inthis ense does not mean regulation or conteol by ready-made rules, 1¢ is beyond fanctionalisn. I believe what we cll “expression” in artis reilly Alscovery, by one’s own mode, of something new in this world, There is something about this word “expression,” however, that alienates me: a0 matter how dedicated to the truth we may be, ia the end when we see that what we have prodaced is artificial, itis fils, I have never doubted that the love of artis the love of unreal. Facing the silence of the old wees T could not help thinking about my wn work. My truth, however, is found only in the act of creation. And. ‘vis in tha act that self-criticism arises and I fel alive. There is nothing, Profound about that Although T think constantly about the relationship of music to nature, for me music does not exist to describe naural scenery. While it is true ‘tur Tam sometimes impressed by natural scenery devoid of human life tnd that may motivate my own composing, at the same time 1 cannot | fogetthe tawdry and seamy side of human existence, I cannot conceive of nature and human beings a opposing elements, but prefer to emphasize Sing harmoniously, which I ke to call naturalness. To be sure, thie ‘ontrdicts leing to “the narrow road to the deep north.” In my own, 3+ 'Confronting Silence cretion aturlnss is nothing but relating to reality Ts fom the boing of rely that artis born ig Hakade mettre tute Aina who consinie to wer del trulional gab—not by choice, but out of their own weariness fom resisting outside forces. I ako talked to some young white-shirted Aig who looked down on the tourist Aina, These young people held an ideal the presenation oftheir culture in pure sate. They regarded de | carved wooden bea and anfcial erate produced by the tourist Aina w distorions of their culture. That may be true, but T was ieitated aod frustrated by the distance berwen the teary ofthe tourist Ainw and the ies of those youths. Listening to their tlle I despsired and felt Ke Jeng the whole Aina culture die. Bat thereat the deserted lake, enchanted by the deep blue ofthe wate, 1 could wot forget those strong impressions that nearly caused me to low ‘ny own ident the Aina woman crouching by the roadside with avert fice, the shabby and somewhat smely vile. No, Ido not underestimate the value of preening a tation. But those Ain youths and T mit remember one thing: a long as we lve we must produce something. Tt is the mara thing to do 1 wish to fee sounds fiom the tite rules of musi, rules that are i tum ied by frm nd clon Ian to ie oud the eda to breathe, Rather than on the ideology of self-expression, music should ‘het on oud win aes pn ee times fart. When sounds are postessed by ideas instead of having thc cn identi, ami suffer, This would be my basic rule but iti on an idea and naturally I mutt develop a practical method. One way might be through an ethnological approach, There may be folk music with ‘trength and beauty, but T cannot be completly honest in this kind of Imusic, 1 want a mote astive relationship to the present. (Foll music i 4 contemporary syle is nothing but a deception) Because the writer of popular tunes looks at his world with too much detachment, it falls to the composer to del with the rel thoughts td motions of hit me In this wee of contemporary if ts only though is wn sense of worth and by proving himself tht a compose is aE to relate to tradition in the mom ith none Nature and Music ai | found Chikuhohad become an area of abandoned mines, An ealice vivid image of it as a place of biter labor disputes was now replaced by the reality of abandoned miners’ shacks standing piifilly weathering in the Wind. An algae-laden crater lake and a tailings pile were only a pattem of deserted nis. I stood there uneasily aking in the scenery at everything merged into a lyrical Indscape. There were layers upon layers of heavy silence and I was beginning to fel tha i was fruitless to resist it. I have rcier seen the ruins along the Nile River, but 1 wondered if thove ruins and the scene Twas facing shared the same qualies, I don’ know. But seems to me that for human beings, ving i nothing but piling up the ‘The story of Socrates elling the stone to shut of the light of the sun is eally the story of humankind. The tue aature of history is something that could nor be planned because itis only through living that « human bing verifies his own lif Jean do nothing but walk on the tack left by Socrates’ stone. Everyone plods this fruitess road, treading out the path of history. This unfolding of humankind’ history has nothing to do with ftalsm or eternal principles ‘There, confronting it, 1 resolved to face that silence as long as T can endure it. That ie discipline ‘Within our Western musical notation the silences (ress) tend to be plced with statistical considerations. But that method ignores the basic Uterance of musi. Te really has nothing to do with music, Just as one cannot plan his life, acther can he plan’ music Masi is either sound or silence. As Tong ae [five I shall choose sound as ‘omething to conffonta silence. That sound shoal be a single, strong sound. wonder if the tase of the composer should not be that of presenting the basic unaltered form of music 1 would ike to eut away the excess tobe able to grep the essential sound. On the way back fom 4 contemporary msi festival I stopped at the Mess Garden in Kyoto. It appeared simple, but in its technical accomn- Dlishients T found ie far removed from my taste. I do not like sel onsiousaniticialiry. Even in composing, techniques ate required to build 'p sounds and shape a piece of music. But even here, the appearance of sCC Confronting ilonce reich te ane ll gt femme mls cal et tee erin ae ree nt oy cos Nye ote torent Berton cen Wena ois toed eee pe al ean en eae ite teen cao no (ethseshee Mes econ of te ar cin ly a Pik Soc ae ol sure Tish dard te cant of ung sounds Inthe word nw teed cee ricingy ono tha sand wih om handy, tay ech's ge eon Aad soa mong sound publ nt contonaton wh na ae aes 6. He apt (Sout mae] the Inca Howl = Cty Tigre yt aceding sounds ta covered tv Nets 4 WHEE conan che eae nee Si si et ion op ed moi hemp hn lp nl are completely different in their nature, “SS pata Ceti he ney fata Wee ee, OF coun cel ttm is ree, ven by sic Posen nec tale, titan the b {mouth onan, However they seas oly © ier he goanr etn afte eee neo a thythm, but i i certainly far emoved Seka Teno fom the haa pe Daten ise. Oconly homshy er eee fom aif sow the detonate ce eet eb piive chance ofthe inane oe of « myo hamany, eling inh ae ao Nature and Music “There i even 2 sensual quality about the delicate intervals that resist being clasifid by the usual means, Heterophony is present like gplashes in the stream of sounds, and yet it sounds appropriate "The most important instrament here is the shi My impression of ascending sounds and the secret of immeasurable metaphysical time seems to be bared on che sound of this insteument. Sound on the si produced by inhaling and exhaling. The resultant sound, continuous and without stack, does not generate external beats, but awakens an internal latent fythm. Delicately swaying clusters of sound reject the concept of everyday time. I now recall Pierre Reverdy saying, "Only silence is eternal” Creating sound by inhaling and exhaling results in an unbroken con- tiny. While the pauses in a Noh drama possess a certain feling of Tnelnss, the stream of sounds from a so has an etemal repose about it GGapaku reveals a strong Buddhist influence, In heating the stream of sounds it is possible to imagine the concept of transitoriness but not necessarily that of lifelessness. Indeed, inhaling and exhaling are the history of lite ‘Thete is also something in the pauses in a Noh drama that has to do with etemity Also, much of our traditional music aime at an immeasurable ‘metaphysical sense of time. The unique qualities of this music would be lose fone began flirting with external form, but I need time to explore the real substance of that ida, Westen music has been careflly classified within a narcow system of Sounds, and its presentation has been systematically notated. Rests within 1 sore tend tobe placed with mathematical compromises. Here the sound hs los it strength within the limitation of fanctionalism. Our task is revive the basic power of sound. This can be done only by a new "ecogition of what sound tally is, I do not know if gagatu satisfies that ‘quirement, but I do know that in this stream of sounds that it gaged ‘richness of sound undivided by rigid classifications can be recognized. have referred to the “stream of sounds.” This is not only an im- Presionstic description but a phrase intended to contrast with the usual "method of construction in music—that of superimposing sounds one on ‘other, This is not a matter of creating new space by merely dividing it but i does pose a question: by admitting a new perception of space aneC—O Confronting Silene wo Ging i an sine sane, is it ot pomible to dicove a acy texjeed, uncon word Thi sche sme ax recopising vund te dee Lncning wo the b¢Thegan dink oft bac creative apra The exci sac internal nod is fl of weion. ining in i suram of nin ound 1 thought tat it i ny tak to capa x sage Gbtned sound, The rev apd rinrotenene of gaat, which har mk tow sued for sich slong time, woul be anachronistic in th der wold. Aad 1 tpl ne po pear dire to prmore vad eel a cogh to sore ctu ee pet eeserey mine hee [November 28. Will have rehearsal for a concert of Ichiyanag’s works scheduled fr the 30% For the frst time in my life Iwill be a performs, Secing Ichiyangi performing his own music inthe Osaka Contemporay ‘Mosic Fesval 1 was impressed with the beauty of a human being # «completely united with the sounds of his own musi. And somehow I toa ‘wanted to become one with my own sounds, How wonderful it would te ifthe incomplete composer could be made whole by this act of performing his own mic In his book Japanese Conftions,Jrd Tominaga vote 1 es upd by the een ne cafes evident in the meg candy maby the mae cnectoner x Watesyt in Kya, When fist he wide ply did ne so TEL 2nd hr ac aos Mono ad chlor Samone It wen only afer im pointed au by the str confetones aT tok acl lok that could tee they ee acy cms. What lind of technique reo ck tandy? Av ech sel waned toe the proar wae not teveied to me E have had impressions similar to ths © ofthis author, bue they are not limited to candy Cooking frequently imitates forms fiom natuse. But 1 ‘think rw fish arranged in the form of «chrysanthemum appears somewhil Nature and Music comia and grotesque when one notices that tx realy tobe exten, What isonet think of such elegance in food? Many excellent confections are tna in Matsue as a result of the Lord Matudhica Fumae, who was own for his discriminating ast. Judging from thei names, such as “mountains” “ver,” or “spring gras,” thse candy creations must be beautify made. Things Uke beanjely cakes ae supposed to be served wth green bamboo grass in harmony with the serving dishes. Sometimes the serving dish determines what will be sered on i Mada Funaeis sad to have been accomplished 2 theta ceremony Concepts of ah [cultivation ofthe serene] o shi angi esignaton)pro- Vie one approach to contemplating sate. The approach of the West is ire. Udon ke the idea that eveything can be explained nga, but Teste to discus such philosophical materssupecicilly Tes jst that a book about Japanese andy made me dink Westem confections have their own purely abstract forms and beauty Japanese confections do not. ABT mentioned, many of our imitate natural forms. This dfrence is also applicable to many aspect of music. Japanese stu, for example, seldom hus purely instrumental works. In many cases inwrumens act merely a sentimental accompaniments to words at other Sines they ae used to depict the sen of the words. But generally in insramental music, more importance ix attached 0 appreciating, the parca one-quality of Aor or shamiien [traditional stsing instrament), ‘hes than to the combination of instrumental sounds Westen pesformers are also sensitive to individual sounds, but these sounds are abrays part ofa larger design and are significant only in their insrameatal contex and the framework ofthe piece. This concep, based on the idea of human beings congue marr, essentially different from the Japanese musical point of view. I must be sid that in principle and construction, Western and Japanese music are fundamentally diferent, ‘syanted by distance I find overwhelming. But the geographical distance Serween Eis and West diminishes daily and I must cope with it ‘The Moss Garden in Kyoto was « disappointment, but the sounds Seated thew impressed me deeply. Were those sounds orginally a part, ofthe plan by Muso Kokushi? The sharp sounds echoing fom the corners Of the guden were made simply by water running frm bamboo spouts. -9Confronting Silence at the spate arrangement and cael he eat oft aan ere of mere ll, At the basis there was harmony sre sinton of the sound—beter ght or dark with the tee mpc of the natural ldvape. Thersin Tet the clue t derstanding the mae ee December 16. This moring I Became a iter Mother and child dig DE Daugher war named Maki: Recved congetltions from all my Meee te Basted recoding for the movi Mitre Sty that Lg deed by Sum Hai. Tam ging to init he expe oon worker re a many things Tdon understand, ren 2 den plas ple Me Tan Ars om the Oska Wotting Peoplt Concer hae conidce acetone dat theft that he movement toward 44 fem gan by aceping the form ofthe masa. strange that by Some Simple mind eguion this new orld syhesi” sould be isan ed te mavl. Rathe an scoping the American-made mui shoud we lok imo our own, ye [spunse vary show] for? Informer times the Confucian ideas tha music was ceremony held say. ‘Ceremony has to do with refined procedures, at the same ime escheing the direct expression of emotions. Without saying things direcy one tis to tll about himself through allgorizing. Such an approach was regard 1 dignified, The distance berseen the German Ieb-Romanen! and th Jspanese shishoeta? may also be seen between the Western musi expression and the traditional idea of musi-at-ceremony. The bell of Westminster Abbey speak in tems of ft person singular: they have # Snividual motive with a distinctive statement. The Japanese temple gon 1. Novels bcd on athon’penons expences, fitinalined avtckingrghy. | agllin sr itch teh he al gate Ge oe Nature and Music however, speaks without personal identification: its sound seems to melt inte the world beyond persons, static and sensual "Yukio Mishima wrote The Jpanerelngunge consists of sentences tht ently siminate dhe sbject. The Tale of Ganj, fr example, har many partagee whee the subject ie very obscure Inthe case ofthe shibet, Gnce the peron “I” ir extabihed it can be understood by the fender without any problem. The i lo tue of “he” Thi im living technique, which iocudes the elimination of the third ewon and the ming of he” and ‘L” places the rel in the fraers owa opititual wold tthe expense of social and human ‘elaionhips. I wonder ifthe deep impression of the sbisbosesw might not be that of the beauty of denial of self. It impreses, not by confession, but by the resrant in denying one’s self, which, while it limits and narrows the world, isat che same time emancipating. That is what creates the deep impres- sion, Words ae transformed into the fourth-dimensional passage between this word and che pure land of the future. Inall Japanese music I think gidayd? holds the strongest exprestion of violent emotions, although ie is a¢ the same time highly restrained in its lie ofthe voice, There is no other example at vivid as this. Docs one express himself through his own suppression? Or isthe reverse ‘mu Either way a simple comparison of Japan and the West is meaningless, hope to define the characteristics of something Japanese, then, with those characteristcs—personally confront something European of compa- ne vale. At this point in my generation such confrontition of the two ‘nations should not be impossible. Whatever contradiction results may Provide the basis for disustion, “yom Sart piano piece, The Graig in collboraon with the dtgnr i Sugiura, Is through collaboration that Ivey my own thoughts ca i he forays ve bal pl omen empl oc nd teConfronting Silence lex sounds. 1 fel i¢ would be and rach out into 4 wodd of more comple da if my uric could sound, and then when the echoes of thove sounds vane baci 1 would no longer be thee. I hesitate to sign my pieces che Gays, Should T leave them unsigned? “Toshi Tehiyanagi expressed the following idea: Rene aig ofthe pt Ifyou ar concerned with 0 tne bec pot bo, Maton Te fina rhe important things, When comporer ute ce ond and ren Sod eee etic Hel! ‘Bouin own egos Through hi atoe one i emored from Ho tine gay. The Sa thre aout venting And tht iyo Sides evehng Ter a nec bd fens ea 1 don't question the eas expresied hee infact, Lather age with ox of them I wish to devel my cratire and msi” by dealing with hae smut yon wry. Trust ot ignore my daub about the Elbe of this sored “expesion’™they wil never be resolved. But by cot fronting the imperetact of expresion a comporr can tra i into # productive ov. Could tat do boginng of exreson be the ecgain ofthat part of ones sl tht cannot beac cxprting? Expression i (he Wert gee eI GA giteg icasing to te vol Tyee eee er oni escent werd One dos sot rear th namiog ofthe five Ringers as expresion- Ba ping and pointing ae expression, And fingers are pat of the bank and the hand is part of the arm, andthe arm is part of someting Yo call yourelé Tan be only a tand. And sha hand ie cercnly pa tye The something that makes me alive could be msl, Just becuse Tam only hand doesnt mean we can sy that my hand could ot be 46 Expresion never means searing mytelf from other things ‘The wodd immediatly with me but when Tam sae of i ee “Therefor, in lking the worl ou are rely ely aking to youre: Wal ane Nature and Music oar own pth, avoiding the influence of the senses, which offen deceive yo I's only this path that will lead you to the richness of the world. [All art ends in artificial im that conse itis false, But what is it that ives it the ring of truth? Ido not wish to make the invisible part of art Seton. Tchiyanag says that wehen a composer puts meming into sound he cajetfis himself, but T don’ think I really understand that. To me the ‘orld is sound. Sound penetrates me, linking me to the world 1 give sounds ctive meaning. By doing this Tam assured of being in the sounds, becoming one with them. ‘To me ths i the greatest realty. It is not that [shape anything, but rather that I desire oo merge with the world, | lve collaborating. While I don't take individual efforts lightly, 1 arn sfnid that such efforts may tend to become self-centered without rela- tionships beyond themselves. Establishment of the ego is a prerequisite for oder times. But tobe fastidious in blocking out others would soon result in ones own death. There would be no circilstion of ar. Too often these days creativity is nothing but the invention of methods. When aesthetics comes so sharp and distinguished, art becomes weak. Really, expression is nothing but the maximum realization and proving of self I hat is true don't se that it makes sense to hold onto conventional techniques. 1 im afd of attitudes lapsing into convenient routines. ‘As have been saying, T am a composer whose thoughts are only the say glinmering of awareness of someone who regards composing at his Profession. As a composer—not an inventor—I don't need patents. Things ‘think of must have been thought of by others already. That is why it ‘iting that Tbe a compose, since I am not concemed about thinking ‘houghts that no one else might ever think, I just want to make sure that while Tam thinking chose thoughts that anyone might think, I am doing ‘tin my very own way. Therefore, I think T don't mind if things are not alwaye all my own, Theoretically, the coexistence of two individulities i a contradiction, Tam not tying to eliminate that contradiction by working in collaboration. geConfronting Silence tradictions I hope tok (On the contrary, by experiencing stronger cont > oe reality Is not the elfrt in resonling diferences the real exercise for i Contradiction wil result in movement, and that will make the air circu, Heep, ig Bing. Tere ing ing Composition should be something that truly has being, something tht should have arisen from the compose’ own turbulent interaction wit realy. For the compose, realty is nothing more than sounds. And fic sound to come into being they must reverberate through the compos, becoming one with him. ‘The technique of constructing sounds through mathematical formulas is tval. IF msc consisted only of inventing and Constructing sounds 1 could well do without being a composer. If thse J a sound that is alive, some Kind of order will naturally exist, ‘Thai ‘why we think the singing of birds is beausiful, uly beautiful The work of inventing and constructing music really holds no intest for me.I want 1 carve away the excess sound finally to grasp the essen single sound, Joan Miss once said he would like to stop being Miré the Sparish painter, And Hans Arp participates in group sculptre. Might not thi ‘world of anonymous ieographic being that these people reached be # hidden source of realy? I finished one piece collaborating with Kab Sogiura. At many poins in its composition we difered, Bue that is why the piece has an independent nature In that piece, entitled Corona for Pianist, the dividing Tine betwee Sogiuras work and mine is unclear. My contibution consisted of minimal essential musical suggestions, while the spatial arrangement was Sugiur. 1 was encouraged by the unpredictable events and discoveries. Mut | Pople, however, may be bewildered if they try to understand our work 2 an ordinary collaboration. Our work is realy nothing but the small sell fiom which an anticipated omgaiam isto grow. A certain botanist 02 ‘aid there i no formlessnes in the eels that form bio-organisms. In th rmicrocosmic word all cells fllow stir lw, Sometimes shapes lke regular heaherons ean be found. Amorphos “ue 1 | Nature and Music shapes are Found only in dead or injured tissue. Doesn't that tell us something? eS Discouraged, I retreated into what resembled a cell in 2 beehive, sealed, without fesh air. No flags uttered there. I had sold my soul for an easy gpstem that had the superficial attraction of an insect specimen box. ‘cual, these were flags there, each on a straight pin, classiffing the specimen and assigning it to is place in such a way that the desiccated specimen became even more veal than the living creature, But it wae a would without peace of mind. no decay... n0 detention T could ot sing time stood stl, {A besuifilly organized exterior without true substance! Bur the stream of history flows on, carying with it polation ae well 1 precious ie, Now that I have captured thie concept of sound T must make it five ‘ater than abstracting it nto Hflessness. I must smath this glass specimen box, exposing my own fundamental eror in pasting those classification labels onthe realities of history. Never mind the shattering glass—my oven rounds will mark the beginning of “fe” Circumstance and realty combine to shed my thinking. 1 mast boil ‘down this relationship to the point where “realty is nothing but sound ‘0 me.” Reality is all around me offering the “tomorrow” I need to assure the promise of 4 future have been trying to research the prablem of the Japanese tradition in misc. But I should be careful out making easy pilgrimages into the ast Some time ago among the ruined mines of Chikuhd, I stood watching the frightening. scenery in which nature reclaimed its own, bringing ‘verthing back into a sentimental landscape, Why was that so frightening tome? It was the fear of something man-made crumbling back into nature rea an extemely well-crafted intellectual construction can crumble, Is it only geology that teaches us this? To the human being nature is anonymous. Its scattered elements exist, Ptcnilly defined by their own names. True rapport berween nature and 15OO Ee ae eae Confronting Silene uma beings begins whe thang Derren ngs and man begin, Wen oe srs + onan tr, a oe wy exe. Inaba or Tate to create an unnaa Ccvrnment my wot, Tht i ely meteral hing to do. For mg the nawalzing trough llgoy 40d metaphor that one finds n Jape tlk songs is completly anneal. On numero occasion Ihave wane about te econclinion ofthe Jopnee people and nature. But now, by Ie ee energy serene inc al "Wat Ihave been saying i hat we mnt give mening to sound iy reuning os ogame being Sounds hemaches, he tmovenent ss penceteed béngy—that is what we must discov sl comin to Scorer new. npc ous rmerely a ebjecve can ofthe hm blog adm the pense sound 1 am docasiog Mi pi re meng fora cst ometng ote than eat aming aod ifeentining cancers aol image. Beth uy accepan td my suicion of “chance music stom rom this point of view ant cave ary the exces ego the ingle el existence sms conic 9 we, ning aby fo peion and cary wwe name things. Ie is then that the sel = 9, Rien Snence — Sow the exhibition of Takiguch’s sketches, Descending the dimly lit tpt of the gallery was like descending into the hold of a ship. A rich sien that stemly resisted any ypoken sounds. In such moments—rae in one caperience—art withers if there is any attempt to embellish it with spect ‘This almost turbulent silence was dizzying. What kind of excitement it this? Words by Pere Reverdy came to mind; “Only silence flows into tht stream of eternal ime.” ‘Mr. Takiguchi wrote the following for his exhibition: 1 thonght to fill drafing pad with something other than hana. Tt wast lear to me whether T ws weing ot ‘keching The indvinbily ofthe twos what engaged me The meaning ofthese lines is important an, I believe, very cea. Bet without Reverdys word, the ecitment tha sia mee something in Nature and Music ase on wih at. And thote works—enveloped in silence, spurte hart chmoing city only by a shet of glae—made me think about wear of lence it nothing new. Silence surrounds the dak wood of dah Sometimes the sence of the vt utes hovers oct us, Sheclying There isthe inese silence of birth, the quiet slence of Sics harm 0 tbe cath, Ham ar een the human cena’ raion fpint leas? Poety sed ruse were orm when man Gest ered tend, esting the sence. By scraping one object against another or by toning asus, poll ar wae bom, yt tine ofthe Renalaaace, rt incresingl cared the taint of man. Inte hitters! diversion ofthe ara, sguber with medcm ieee ea, the vey ature of art elf was these In our ine may Gf ea hie tne ethve and slecontined, cach within own tua domain, no amc of wel eae or thar wench ich or Cimtuntng dence hy otteig a sound is noting but veiffng os or cinence: Ii only that angling out ofone' self fom the caer oF ile that can rely be called "nging” Thats the only rath that shuld eoncem arn, ethenwive we will never realy face the question of a ey. (Viewed this way, despre muse in «cowardly art) Tee ine tha the aris singles out the tth to sing or sketch. And ie ithe ht he elie is rth ext prioe to eventing, This ithe ave Of and atthe same mei something that cul be eed “the word” Ths dys too many ars have left she meaning of sence behind, Inskenaly, is thee 4 contadicion in my fltence t9 confontng Seas with silence wish tobe avate ofthe sound of lence in nature, Of couse itis all sight to replace thi iden with words like “pause” “ing in this instance co thse ares of silence in the Noh data, oe ih word ike “spaali"—bur the probleme are moe scious than the Dining wih tems or technique. What is important i the way we Inthe pat, music wa ui by png up brick of sound to erect edices Sf aying gles. Today, of cote, sonnds canbe reduced to ware forms, ted one might ay ther it no ference between combining waveforms td pling wp bricks. But sounds ae the meno to convey the movement NapsConfronting Silence ‘of thought in the compote, directed at projecting a complex future image If this is so, what we should be considering is those sounds themseha, the bricks of music In piling up bricks we build wal, creating division. Teac through th doorways is symbolic, but should the ars be divided lke that? Joun Mis But enly becoming « man means geting amay from yout fae felt In ene it means no longer being Mia, that i 014, Spanish sinter belonging to a ocey that i Limited by frontiers Adil sd beret conresions Tn othe woes, you must more toward anonymity ‘What did are gan by dividing the space within those wall? ‘A door slams... Let us imagine that I hear agony in that sound, Ba Within the realm of physics that sound is only a blue light glowing the osiloscope, We can reduce both sound and color to wave fom regardless oftheir own propensities. I this is t0, was it foolish of me» hear agony in footsteps and pain in the screech of wheels? Physiologic 1nd psychologically even those feelings can be analyzed, but those anaye! show only a sight advance in graphic measurements beyond those oft coxciloscope,pethape moving from the arithmetical to the matherwati Such phenomenological fats do not offer a new way of recognicing “sound.” Those fats are important to know, bu if analysis exists ony its own sake, itis meanings What was gained through the compartmentalization of the ara? The words Takiguchi wrote to accompany his exhibition question the urent uate ofa. Indeed, many of those skerches challenge that pit San tins the rion et. I ot Takguch the pot smh Gad et sttching, uping to expe the Word thar was one wit Even without resorting to biblical justification we can say words ms ave Mi: But how i today? Toy many words we angel te 4 Jon Mit, Jan Mint: Std Ming en eno Meg Rec Bt G. K Hall & Co, 1986, p. 252, oh 4 ihe a —s_ (Cl kk eal Nature and Music of naming and differentiating, Emaciated typefaces echo empty screeching founds, Has our expanded vocabulary enriched anything else? Teis the keenly felt emptiness he finds in his relationship to words that tecomes the starting point for Takiguch’s creation, In the “indivisibilty owt and sketching” he ties t0 grasp either poetry or pictorial art fan undivided entiy. For him, sketching i a ritual by which the nied matrix of the arts is revived. His own desk becomes an altar Paican ink replaces the stual chicken blood. He crouches among piles of ok. His incantation i silence. Suddenly he calls out, violently, with his on ine voice, summoning up himself Eke a spsitual medium. But this isnot cay. There are always the unseliable senses one must be on guard the white sheet of the sketchbook changes into. an cspansive stream..-unbounded, mysteious. A sharp glass pen pricks inciionike marks. Pain... Takiguchi's own, He must endure it “Takguch’s work is obviously that of a poet because it ie an act directed 1 discovering the original unpolished stone, rather than at polishing and presenting 2 fnished form of some given material. Although it i¢ very ‘ct, the process is something closer to action than to expression, Like ooxing tod, the ink tends to create forms, unexpectedly ignoring ‘Takiguchis will. In this sudden reversal or that sudden reconciliation his gine. But then mn exercise in living goes on. Tt ie interesting that those incsion-like tuk remind us of ether forms. On clove inspection the stainlike forms ‘eamble human beings: some look violent, a8 if locked in the battle beeneon the sexes; some are relaxed, lke tees original-shaped boats sa the enansive white river. As I Tooked I thoughe that whatever one’s work ‘sities te, a human element will kways be present. But we must remember allbuman efforts are after the original Creation, In their concentrated and txt movement of spirit Takiguchi’s drawings ace truly study sketches 9 cxcse in living, My tte for this essay, “Rich Silence,” has two meanings. The first is ‘pPonymous with that quiet movement of Creation. The second refers ‘kicks quiet fulilment in which the study for his furure poetry is realizedConfronting Silene In the beginning Go crated the heaven andthe earth. And the arth wor without form, and wid and darkness wos pon the | face of the deep. And the spit of God moved upon the fice of the water, ‘And Gad si Let there be Bight and there wae ight. And Gad othe ight, tat it was god: and God divided the light from the pio ‘And God eed the ight Dy and the dukes he called Night, And the evsing an the morning were theft dy "And Gods, Let ur male men nour image, afer or Uikensss: sehen fre min oe he ah oF thea overt fel ofthe ian oe the eat, and oer all he eat, and over ey eeping thing that cespeth upon the th, So Goa cated man in is ow image, in the image of God created ey land eal crete ther A ‘rend of mine once remarked that by the ime he is twenty-ive en ‘man should have a port. Takiguchi must have felt reassurance in knowg ‘hat within himself he cates his own port, the waters of which reach of, flowing to the most distant shores. I had that fecling when viewing fs exhibition, Tn our modem society there are too many arts drifing aimlessly about without a por. = 0 — | filled with notes, all bound by a rubber band. How do those sounds get | Moving my ee fo ef ih om tp o btm, ed 1 | inh ett cit mle, ae | ts they = an ‘composed sounds—emaciated, burdened with function. It was all so familiar, this official read left to right, fom | tr ton a ‘My fiend pounded out the ending for his work on my piano. Whet 5. The author bas ced Tee Genes 1-5, 26-27, King James version of the Ol | ae Nature and Music he semarked shat he planned to conclude with that “sound” I noticed that the sound, which was not particularly distinguished, seemed to become omething beyond itself simply by going through my feiend’s hands. The found aserted itself by virtue ofits own birth. Doesn't beauty exist by fs own coming into being and disappearing? Ichiyanagi began an essay with the comment, "The perception of nature in modern music 58 accomplished theough the stop watch. We can no Tonger dream in the imaginary temporal world of 4/4 time, drinking in the vee honey of sentiment.” Certainly beaury does not arise from the lingering sesthetce of 4/4 time. But I wonder if one can conclude, in the wore of Ichiyanagi, that "beauty cannot be horn where it i sought.” Tam sony I cannot quote Ichiyanagi’s essay in its entirety, but quite ‘my suprise [find myself wondering if his main angement is not based on the old idex of the unchanging nature of beaut. ‘As long as he lives, man waits for and longs for beauty. Even an Inpovershed society has ite own beauty. There is beauty even in decay Its ako found in the quiet endurance ofthe fea of living, Many-faceted, bean isthe undesstanding of realty by each in his own way. Why did the painter cut off his ear? Why did the deaf composer search for misc? Since | cannot answer these questions Iam not prepared to augue with the comment that "Beauty is not bor where it is sought.” ‘The sounds my friend pounded out were only the sounds of my piano, =i out of tune. ‘To him ie was part of his image, the complex features ‘of which were reflected by my piano. He played badly, but Iwas impressed ‘ina vay special way Because the sounds transcended the limitations of fancion, 1 have another friend who is completely fascinated with the stains on ‘ings: Through vasious means he creates forme of stains that all look the Why is he absorbed in such things? See RI Me several thousand Buddhas in the Nembutsji Temple in Saga, wo, Many of them are suid to date from the Heian (794-1185) and -n-a iis. EST RESUS URE omc etis even) Confronting Silence Kamakars (1185-1333) periods The appearance of that line of seme Images on a dark, daly day caught may imagination and would na it go. Pele by rain and weathered by the wind, the stone Buddhas a ny reduced to simple ones From my east childhood 1 have loved stones, I especially Uke eal ‘shiny black pebbles, although T don't know what they are called [lie pute white ones to, but | thik somehow the black ones have more wee tnd depth and look more lke stones. Also, I ike the sound ofthe wa fbi (stone). When 1 pronounce the word it i like spitting out sod an fee allover again the strengeh of tone. I think the word implies ii fl Like Daruma taming to stone after facing the wala reitation, stone endures. It does nothing but endure. | Ta the music for the documentary fl Nippon no Monyo Llama Patten) 1 wed bon Japanese lute] forthe fist me Tn the West, the study of heraldry seems t be popula. Not much ly has been devoted to Japanese crt. With no special knowledge abot them, Tam very cuious about various partes of crests, especialy the having absract geometic designs with rings combined with comm, shapes. Their simplicity caught my interest with the same excitement {et fom stones Desins that survived trough centuries of history must have been | nmi, but they seem ruled by some magical dynamics. Peshae | ‘eter bad o mte wip o mage poe te Hing “ie So ne time ago, sight after is Nirvana Symphony was published, de Soe it ry was published, pe ee ‘wrote an ancl about his profound ate ‘ment to the Buddhist temple gong. I expressed a kind of disapeor tb el Sec] soul not bring mye co bel ht slectronic anabis of 2 Buddhist gong vas x prerequisite forthe crs of that piece. Cersinly the round of a Buddhist gong might Bre # ple her. The phonetic sounds of hero wi Tipe, bt the writen share ne ee | The stor i engin in wo fe aone sad “wi tee ome “me Nature and Music composer some new ideas and techniques. would not deny that. But there shouldbe «great distance between the sound of a gong and the uterances of a compose. T have no critisism of Mayuum's sientifc analysis of the Buddhist ong and his attempt to reduce it ro general musical terms, On the onttary, I approve. And his own subjective recreation of the gong sound isnot the issue. If that were the ease the problem would have been simple for me, What does concean me isthe way Mayvaum tried to explain that piece of music by means of the gong. I also had ths feeling about Samara, {recent work of Mayueumi's in which the Buddhist idea of the erane- nnigation of the soul is reduced t0 nothing but the role of a narrator, leaving me with the impression thatthe composer was imitating the idea with sounds, What is more, that simple explanation seems to be the basis ofthe general popularity of that piece, This isnot intended as a criticism ofthe actual work, In fact, I hive no doubt that at least the Niroana Symplony is a masterpiece of symphonic literature ny opinion thac gong effect inthe Nirsena Symphony isnot the most ‘ruil part of the work. While Mayuzumis article his a certain descriptive accuracy about it there is something in the music that goes beyond the sound of the gong. That something is what I would call trae expression, that special element that cannot be explained, ‘What was important vas the way the sound of the gong, described by Mayuzumi as a “campanology effect” captured space and time beyond serydy life, shaping and moving according to the will of the composer. ‘The actual gong sound ceased to be important. I believe that ie the most honest approach a man ean take toward the gong-nature, if one can Presume to speak ofthe gong as having a nature I fel the same way when, Olvier Messzen talks about bird songs, after he has pointed out that it is ily t transribe nature in a slavish way. The words in poetry are something lke ion lings ona sheet of pet they can be arranged by « magnet and be mide toes, ll Pointing in one direction. Once a cerain vital power penetrates, ‘words the word themaeves ate abandoned, transformed by that, Prver. Each word begins to show a magni character, Words Bin detion, +235Confronting Silene “The quotation above andthe one that follows ate from a study of post tyr Makoto Ook I indude them here because T chink eis meshing {0 think about the condions he descrbes in tems of sounds. Th factement mic provides goes beyond vebulzaon. And that is reason we find meaning ther. That time when we ae tly impressed bya human being ecure svhen we ace great power working within smal homble person hit aio te of words That is, we ate impressed, sot by Aeecripon, but by someting elevated to “expression” = he 1 thin is imporan, not only in words but alto in my own msi ‘aep the concrete sound tha, in its confrontation of silence, should hae Strength and ine While difrences may exit between socalled spoken and wita language, I do think that spoken words ae stronger than written works But this may be my ova conviction as «composer, Ihave been using th tem “ater o cover the phil and expresive sides of spec a have suggested that itis 4 symbol for “hfe” What docs thi em “uence ely mean? Tn the pitequarers ofthe Rakai Temple in Meguro I had a hase 1 hear some od bur music: Hicta Kyokis of the Chikuzen sad foe paying once sid to me "Since my voice is low like that sue 2 sida it not sited forthe bilan polished melodies of Chiko ‘Because of that personal problem I had to leam to sing from my heir tmuch more that other singers” ‘Whats itt "sing from the heart" It was only aes heasng a pera ‘hat 1 realy dscnered the sgnicance of dose casual remarks Genel i is rte to find individ! invention within the singioge Japanese music. The music ites highly polished snd refined within ie limitations handed down though generations, Techical experiments m4 appear but they too are rested. In the performance of joni ot ott tetonal styles we sometimes invoke the name of spec vito # if secking to rach his level of vituosty. Why? Are we aspiring tom ‘sich divine singulsiy? Io, where is individual inthis traioal wo ue Nature and Music sf mcd OF couse technique is reapected, but fn this cae enpect hat ihe fr beyond the wal sense ofthe word eis Jpuncse wor, th which may mean “nyishness” "breath acto lne" A vipat tecigit ln not sylsh [it], nt oe repeted Gatue oer hand, vec, which ha the fechnigs of wang og cise Be [2], cece asthe superior on. That Chikoen arte Hiatt ove, bt, pardon, ofthe se dine He not bl Mont tray ris Chiluzen, When the old melodies come alive through Finn stint oot someting beyond technique? That whet moves TWkin the ling, yet te, conventions of Japenese mii, sar ig ft indicate breathing i goes Beyond the penonal to merge th the puke of “He” to become fe. For me thi has important Nil the waerace of sound i ot ried tothe wie, One hi o een ppl lsc eee laters seat "sngog for the heat’ become 4 meaning ta? Rigorous ings ee freakin Japanese msc fr god exon, and Hater fr pies of ecnipe:Sechranng realy ed ing th emis bething wih the meee Bin nate ‘Avia ona pan cis cone Tan an xr, But here x none when 1 la seal efnement in he ald van rs, wich fe topnd dir being mere nenenle marci + ind of Ged Als ometing concrete. That the quality we shoud not miss, The guy I fave ben dicing i cen ere. At the same Soe ts something we might eal Von of 3, Ae, fom ee othe end ofthis ey, Talat i plying with homephones (hs cae 4) shat appear so bundy i the Japanese language. Frost O70 Crawouu ro Haxanucnncoon (Soumms Covrnawroe Suave), Toner Shen 1974 a5On His Contemporaries John Cage Jobn Cage's Music an Cog profundlyinfuenced my mic. Sine he is constant iwen de eric scone nue grr tie atte of is unc Picco what i there. His msde vention beyond any patent, Bet monymouy inthe ote ot Clge ited «Gers the (es “and of muse” He fxs that eck with the mb soul of ee ieree eet etal famer.To cultivate “the land of music” stable? We are trying to get a large harvest from that inhested “land af music’ without evaluating the sil. Generally speaking, that land could be aid t be our traditional musical instruments. Without cultivating sound, no real originality will gow. Roles for music proliferate, but the ‘qestion of sound remains obscure. John Cage speaks of the “insides of sounds.” This may seem like rysterious talk, but he is only suggesting that we inchide all kinds of ibeatons in what we accept as a matical found. We tend fo grasp music within the confines of the smothering superficial conventions of composed musi; In the midst of allthis the naive and basic act ofthe human being, listening has been forgotten. Music is something to be listened to, not ‘eihned. John Cage is trying to reconfirm the significance ofthis original ‘et. For that reason itis impossible to analyze John Cage's amplified sounds by electronic means, Lizning co his sounds is what John Cage's ‘sie relly is That is what any music is, Genuine art always defies classification. Shallow and flimsy works are strays measured by conventional criteria; they do not survive. The deep ‘pesion created by some art is not the result of the individual nature ofthe ast, Naturally chat cannot be eliminated entirely, but itis by our taking inthe quiet revelation beyond the antist's individual narure that we i inspired anew each time we confiont the art, Because that quiet ‘ecltion defis classification it is alive. It has various characteristics and ‘changes according to who takes it in. The Quiet Revelation of Jobn Cage Gove ocesion the composer Piere Schaefer drew a suggestive diagram that deal showed the idea behind mus 4 f ase? ique corte, the type of music he gareConfronting Silene ‘Aisract —> Coneste Concrete —* Abstract Convention music expressed concrete images by means of abn musical sounds. Conteriely, musgue conte tried to express an abst: Jnage by meane of everday concrete sounds. Musical sounds have ale been musial by eadttonal definitions. Schaeffer's idea of eb som represented the nal pate inthe development of that tradition. As ak it needs no explanation ‘What Schaefer did was elevate nose to the same level as mul sounds, all according to clasical aesthetics. Once agtin, music dd at relly revive. True, music survives, bu simply enlarging the medium vil not prevent the same old historical repetition. ‘Music will never become new simply by new sounds of by the eng ment of the medium, Inthe same way, a dialectical perception i ot) the methodical application of ideas. But the power that brings a ae 's always beyond such personal conscoumnes. In the sense that cones Porary aesthetics become more highly developed, the arts sue. ‘When John Cage put nuts, bos, erases, and hairpins inside the pana 1 dont think he was motivated by the same goals as Schacter. Tive, Cap Aid explore «considerable number of media for new sounds, but that ws ‘ote een iea it had been only that, music would have ite noting bs edo of eeesion ad ic wosl! have cached ao mmoce unfortunate stage. | For John Cage, music is really his ging fife to those things such = relationships, movement, dynamiee—things that are called music ands Within the Famework of music but ate really not living sound. That why Cages "feedom” has » binemess about it when compared «0 th ‘of Schaefer. The connection between one sound and another my f ‘compared to tht between man and woman in that it takes place in © mary irene wat. ation, fi» Hie ret, beyond aes Since life is unnameable it defies clasificaion. Ie is uncertain. So it# | with John Cage's music which, as unspoken prophecy, allows people ® feact to it in diferent way, | 2. Job Cage ‘The World Is Full of Miracles “The forest was about thirty minutes on the highway from oue hotel a the Klass voano, Ie was a virgin forest, beyond the reach of human hands, fall of wild birds “The mountain weather changed quickly. By the dime we reached our stnation ic was raining. The huge outine of the Hawaiian sun shone clenly through the steaming vapors and icy rain at the mouth of the ‘ican. The vermilion sun looked as ifit were pasted on a gray wall. Then rudy it was covered with cloudlike fel. ‘The music festival in Honolulu was finished} John Cage and 1 visited the islands before returning home. There, in forest fll of wild birds, vie could scarcely find the paths through thick fers and bushes, Under the eanopy of dark tees the flowering wopical orchids appeared to be fom ‘nother word. I imagined I understood the language ofthe birds. Ever- Sunging things... bird songs never repexted...bright purple orchids rain... wind, And then, ‘Thete in that forest felt the things around me were not part of an objective word 1 fle I was already part of chose things. I was changing FT leaned against a rotten tre I fele my skin would become brown, covered with villus. If T touched the leaves I would turn green. ih all the changes in the world, the world never changes. It is Sifcult to believe the wnlimited manifestation of that Power that gives 1s lif The human being seks to live by setting himself apa from others. Is this as ie should be? In Japanese we have the word ira, a colloquial form of ia. Te has ‘wo meanings. One is “to place flowers in a vase to revive them.” The other is "to bury a corpse." Tent there something basic inthis word? Isn't this combination of life and death « measure ofthe world? To Christ, who vas exzcuted on the hill of Golgotha, his death was a human experienc. ‘That is why there was a Resurrection. Was that 2 miracle? Iso, the world is fll of miracles,‘Whi i oe Nowe. | | De teas | | “This recognition is reinforced by Basho’ penetrating view of the wo | nothingness, which is the world described as idzsbi and ier lie wl | death. As you look around, that world isnot the objective word, Burt fa there where subject and object merge. It is there that one truly les | ‘To place flowers in a vase (era) isto see the world in those flower ad that vase. Unforunaely, even that act became formalized and tended» Ibecome representative, Stil, the basic source of spirit is there. We ca leo call that 2 meal. | 'As we walked through the forest, the trees and flowers consa changed ther appearance. Joba Cage was well informed about plans shout highly developed fangi. We found a bone-white mushroom lokig Tike a stone growing beside an old tree tank. Cage sid, “This is prob a old as you are.” The mushroom seemed to be the image of silence, We stared at it for Some time. Why is he intrested in things like mushroom? Cage said he goes out hunting mushrooms whenever he has fe int He said itis dificult to distinguish the poisonous varieties, One basa cat them to find ou. In addition, some that are harmless when eaten ot become poisonous when cooked, and vice versa, He said itis qi mysterious. “Where does the poison come fiom, and where do you ie disppears 102" Te was when we vised Dr: Hisamatsu in Kansai that Cage said tt | slstinguished Zen scholar, "I have been concermed with the problem : ; | aa | | ‘otating music, bt now Ihave doubts about puting my musi down apes” De. Hamat replied, “Aren't you thinking that eyes and et Aileen? We can heat with our eyes and look with our ears” Then add that he thought the combination ofboth was ore naturale een fig Bow oe wh ut es 4 pin the forest near a svar, Cage found a rare smshiwom said he wanted to take ito the museum near the cater because he oth ‘not recall a mention of it at the museum. We retumed by car and i l| 30 - — a er Jobn Cage it there, He left a catd with is botanical name, He signed it ‘John Cage: He ako left detailed instructions for its safekeeping. The man in charge Jooked amazed and obviously annoyed. That was, in fact, the third Imushroom Cage had delivered to the museum on that particular day. He Sil that mushroom wat quite rare in the islands The work is fall of miracles, Front Ore Cuno ro laimeronooon (Seu: Conrcrng Sunes). Toxvo: SUNCHOSHA, 1971 aieMerce Cunningham Merce Cunningham pully benef the momen of his dg MS ath hgh dnc boy ovement i sot ml ei hal interme of bal. Ee has id thc the Ughing ripen of vm yi. Omri a eg te ere arcs my maga PS a See eerie — ester cap Ue a eee Ae eee ta bogey vo al eg tet wo one ears ee ae Seal arin thr orca Be ei te raed none ere dors center eres icing diel alt form and che able ssumpc d ee aE ace Capenone och w gil cece ee tes ee aS, Cocniagem og ei my here bon ie ee rae goer TO eed ar bacon ora al Bae (My matier oe els ne about he dancs of Ruth St, Deis Te Shaw, which ew when she wt young, According tomy etl ter impreion of ha aig were the ame an thon she ced 1 ding iat acto Cenealyapesting, T canor ee feng tht the movements Mee Caningham ccovere ini ten twat de Ea ‘Theslow mone af th dance sis pace no layer of sf gen ke nausea the Noh dma where som, nea’ impere ovement ised to cps spect The deed and covered mete ‘overlap. Space expands, And Merce Cunningham punched beaut bit ae When wae ised Twas ied by a simple daub: wa dhe cine onal age wile rm a prlmanr? For exp the meme of dances runing aco the wage es caf apy y ee st the sage wing (Ti nor the earn Tense ar) 1 <2. a i IR nn mn er More Cunningham like the blac curtain of the Western theater. As a small boy it reminded mie of the cloak that a Western witch with 2 crooked nose would wear. “Theater is something imaginary set within a limited space. If we accept terms such as “closed” or open’ space, the stage i certainly closed space. "The world for which Merce Cunningham strives is beyond the expaciy of tha stage ‘What she dacers doit the most sil of all he things we do, To pretend the man standing on the Bile expretsing sything other than sanding simply “eperion™—epartion rom separation from thes ising and setting... Dance ia "Wile at of ie ‘These beni words by Cunningham convey his ideas precisely. Isnt this the opie of Baa “ait there imagining Cunningham tracing out beautifel movements in wide-open space. Fon O70 Crary 20 Haeaneniooor [Spans Connon Tie ‘user. Torvo: Sven, 197, | 233Jasper Jobns Jupe Joan me fh comma ei, He i an woul ae ete ot Aad He bgt brown ai 0d gay Teoma 2ee rahe soto ck meine ck goalty. When ve ee ar ee ad piran wo longer fn cree ue en iil one Tet communication gee hi ana pt can rl ee eee nce a Re aaa gore ta ly oal Ge i et, hog wish Jona a fe eae ee vee pea «Se tc eee tS aca cone ny al ee ey Jcy cone tet ee ce cee w Lave a Ce ete New Yo Ts Fe Te 9nd Jw ces al ee foes Deis ta ons ane Mer en ane Tas aes Ben la thn, Huck Bf he tried a new deal eee dy hectic Cage ee rng: tpn Dalgety Wis esting he cub en al in dette 0 ning Seale, Thinking bck new seas inert conection bees hs Sebi game and his puming Sa wor made up of esr wt ey we uly rpms for Se ‘Gece Bat whe hy ee ones more rope pane ll ssexpeced images ened: Wha the cael mening of he ea ‘ra? Then wide “naoy" wuld shot seer ie Posed tod wile game weld takeout maphyal shoes Tne ple on Hon er ng Joe Dion Cr ot Ucar the stnouncenet hat We we spring eet: Loted ithe wa ected at reing to Japan afer teh yes “Csi hh replied, without ever taking his eyes from the page where the gol esion was about co be revealed. He was completely absorbed in Jo Dickson Car. “ue Jasper Jobs ‘On airving in Tolyo, Jasper Johas rented a studio and finished a piece called “Watchman,” after spending nearly ewo months on it, The sketches for that piece that filled that sketchbook he carried in his black brieease tated back 0 yeas T never heard him talk with passion about anything, He was always lm Jasper John thinks that in the relationship between society and painting eeyting other than the act of seeing is destructive. When the subjec- rater ofa painting forces its way to the fore, the act of looking becomes Commonplace and restricted. As a frst step in restoring the significance ofthe act, taking it back to its original simple state, Jasper Johns had co reject contentional clouded vision, Because his early works reduced the ‘amas to simple signs and images—Aags, earges, letters, or numeral, for ‘canple—the non-pictorial ondinary quality of the subject matter reveals the arises unspoiled eye. In these paintings he has restored the original Significance to the act of secing ‘When Jasper Johns left Japan he left a work entitled “Watchman.” Frost Ore Cnn 0 Haranuteroncooe (Soin: COMING THE Sracs]. Toe Sweeney 1971Conversation on Seeing Ia his took fee ot Hetreion de le masque dans le film: econ Ue sino Aen 9 we hold pa Seen a rreeseat enero ei ee ag a See eae a a me ey See ee ee eee ae realty. As long as those contradictions exist—and they will be pret fe et anceps wt orc ‘One often hears it said of a movie that only the music was good. Th# ea. i aoe Conversation on Seeing Inet ite shat from the movieaker's stand ‘eepion that iri slo an ennge? Im thi one sense, when Jean-Lur (Gott deeiveehimelf at“ plner with words,” we gt the Fesing that he ping images themacven -37-Confronting Silence ‘And still we have no answer to this question of words and images, wath and music. Tn using words, whether in movies or in music, we draw coset then If you were to atk me for a definition of words, I would say tha ty ae the symbols that arte daring communication. But more than th by ‘using words one also becomes arare of others inside himself Such hap ts “secing” and “hearing” do not eake place in isolation. They tesla when another person enters you, It is then, looking deep inside, that ye discover yourself Sloking Feo. Scing pee erty ry hcogh he so a eS St hee acess arses ee aera mapas hn ever tee esling bon f the lolita. Bu when you peck ou an im there. another penoe—that is ont of the dmaie moment in Be We hnve plenty of movenaler who “sot fi tu vy fw “ve” Very singly, I thik fom new on ony those who “ce dll mang fn, Aran at, sexing ranges fom rhe maive othe meopi tee hats most imports the pain ato cing, In moviemaing pesingthowgh the camer cases us to “sea par of rey frm the whole And it in this cating ut tat we dare nape, Win the eatgres of shooting fn and “sing” sable that Jen Dover may belong tn the St From now on thee tay be any ways of secng”T think i Othima is one af toe fine decor who wy to see. Recently, be he tems to be concolyceating something tose I a pose shat puking ot ofl nd petting the Bed image no = a 2pponch 1 moviemaking, For cample the fins of Osis eat that approach do ot have the wholesome quay of his esay and pid comments. Prhagawhoksome is ot the ight deen, bt Oi can“tee" He ee freample deh nrg vey. Wat is of secng his movie could aver have ben mide. Bape Conversation on Seeing Gods is ao a filmmaker who naturally “sees” But occasionally Tam ease by bis dogmatism, especially when, ater presenting we with the ttc of his own point of view, he ends by suggesting a singe simple fave Tee isa sequence in his Une Femme mar in which a couple ‘sg back Grom a rendecvous at a hotel As they alk and sped Srngh tunnel they mistakenly read the sign “danges” [danger a “ange? lay) Tis quite a simple technique of playing hide-and-seek with sesh Godard regards words as images tha are in the constant process Eich and death Jaw Coan once remarked thatthe move ext to eaeh death hap fu hink Godard Begins with thin point of wim, pus i nein to Isao contequences. He certainly fellows Catenin lero foe ta ‘cdi our sexing really out feeling the constant “death tn hat ei ‘heron beeen through the camera? ln ti. Upto now moves have been content to follow a theme using a standard ‘nie in enguging the subject matter. But now in the same spirit as ‘inthe new movements in music and painting, moviemaking no longer Som fed ideas. What is important is one's personal reaction to the fit) pesened. The movies by Susumu Hani and Hiroshi Teshigahars tilsample of unexpected accidental changes in what i being filmed, Isis ay these men constantly discover an evocative and exciting realy ‘otis this realty chat erggers the movement in which they tur theit ‘iv invard, to see deeply within themselves Te Muls-Sereen: Emancipator ofthe Montage ‘ty don' we indlge in pecking" in ordre pique Pray hak so, Minti he rah nde dics imagination? mult projction techniques and the mli-cean tha are am there das kl the imainntive poe of the sues? "a think so. Wr ek hile it is tee that by mulkiple filming and projection née be produced that nearly duplicates reality, itis intersting ‘Bettis nor reality. The difference ie extremely delicate, but that 98Confronting Silene iene th mow portant spect of the move, Aad ii ee ae tin x newem we can vo longer rls and wath We Te faced vl int ave paripaion. “Tow ciple on ch nthe mull een 1 think we ma go bak he ognl moviemaking tecniqe. A simple mulipsn Fe ar wet tt he maken oul be mearingho, But wht STinporeat ks bale Wain movicmaling the ie ofthe montage. Wik sree dcopmenn em appear that al aves wil son wie ma igjecton bet Tink te ue aot that emple, What thee dlp Fc Rea LA SAEiaraeom wtich we can ng > dail ea of IS Te et ee asl cue we hve Sn a A cod Ba seqcace Baas flrs A. The montage was deni to ale he Cats pocolgiealycrtanens. In ld-proein Renee ee leeeltet ese Tecttonaty, the mooage wl Gir artical Garin tielGacee wha anught t impeee be oa clog the Howe bt oyna projcion it becot pol forthe sence lf to purcpatsin renting the montage So m2 nln witine tte deneat ke ‘Up 1 ths pin the methodology tas been trivial B follows A. Ba now cn 4 non spi in fim. AX emsquenc if you are ig he B afer A, thre should be 4 new way to do ie Aer lho Undesunng of her tig it iets Tn the eu day omer Seve te gig a cd of «fm the were sequence midline lps. To bilge these tine gaps preheat, mecca reese OT ‘ofl, Usually we dona cit che ulccen i ees of Oi theory ut thi whole en being pret ie exeeme pot € dlerlopment, and now would be an eettent ine to change or we concept of fl Tote in mule ren as been sound for ang time, ging t» Abel Gants Polson stough hi enon sed came Prokction technique re fundametly die nT da Shin the lipeation a Een eh ae splat of seem neal prover the aprou taunt the real nature of images, espe =~ Conversation on Seng sew movies, We must remember that there i no other artform that i ts sensitive to public demands and taste as the movie is, The audience demands larger sereens; the movies change to mect that demand. Nacu- ‘ally, because the movie has long been commercialize, its eer-developing technology leans heavily on economics. Bue there are limits to this Commercial concern, and awe mart begin to chink about the very nature ofthe movie ite [Now, having reached the point where even amateurs can easily make fins, iis time for the professionals to concer themscles only with basic problems. What impresses us in seeing film is the origina, the thoughts tnd ideas of the filmmaker. What the Private Film Should Be These private films hare ely exploded in ty ircan er What ponies Jo hs With al the recent tale sbout private films, can't we say that in areal sense all films are private? ‘Acualy, peeking through tha small esis quite a private afi, Some Sn rm sina producers have been wnexpctedly interesting, Humorous ‘wists often renult unconsciously fom lack of faites or sie The dead seriousness of the bedroom scene becomes quite intresting when itis broken by something extemely fanny popping Generally speaking, T think wanting fn is wonder. We tend t0 Be ‘thay, but i would be sad indeed if our sexing were restricted by the amount of film available. To realy se, in the sense of movie ting, ‘epies much more film than would be wed in acual seing. It is wondefl 1o ee that private films began by aving nothing to do with the prychologims or need for a story tat done the art of moviemaking into 2 dead end. But 1am etl of underground filmmakers that eel they sould ‘pend more time thinking about how thei ils ae being shown. More Rople should se the. In terms of eaching the publ, che fil iodustry has a significant role. 1 think it was Chapin who once remarked that money was the necessary addition to is own orginal. Cesily it ieConfronting Silence fc fe hata rg ide, no mater Bow smal a bi il gn AS Sate money, he ier mk of movcaking Tho thogh hr ae iwi” nembelihed by anyting acy nay enn igen but try hve « Stieber thar ie feof he moi Tam nt opposed 0 the rove ny osng man ein re wate ang suience Hower the a | Shine gol lake sanoot be fur ise the indy. This Tange ston ta sud once al ‘The Complesties of Contemporary “Seng” ‘There ws atime when Lois Lamitreatended it bith, when the movie was Uke sprite film or home move. Mechanical improvement the pat of popalaiing this new invention, and Sal he film indusry developed But maybe we shoeld go back father 0 1k, "What wat the ogo concep of the fil even Before itr Bit at the timc ofVenire and Elven?” [An interesting question. And tha is exactly wht I have been eying get at If thee isan answer—and quite possibly there is not—it can be Found only in the process of making a film. No filmmaker (and the sane can be sid of composes) begins work knowing what wil happen. He work, asking himsl, “What is move?” Others see his work and at the same question ‘The reaty of something seen in a film, whether ic be a Cadillac o something eke, canot reduce another realty. By that T mean, in ost rodction-rented soci, everthing we ue is being recyled That ot Cadi sented and escled, Cusouty enough, we are fated to ne junked cas to produce new ones But che reality in a film stope she Tecan produce nothing further It i for that eason, as T mentioned eas that the filmmaker who truly sees, sees death, Iti this vision of dest that fel in good move -Movemkng imvohes shooting film and eiking. Quite simply if ome Sng, hat 0 be something fm These top we ® approach this filing’: one can see objects ae pars of himself o he ca ee them a being ouside himselE. Thee ae people who recognize th Conversation on Seeing tlements a6 first-person singular, which ie split into different images. Te is imposible to say one approach is beter than the other, but the point iw start making a film it is necessary toate things, OF eoure, the eyes thax se do change and ar inluenced. Recently the majority of filmmakers have been storytellers, And it is i this preoccupation with the story that the ar of seeing things has been obscured. ‘An exception is Susumu Hani, a filmmaker who affims his inner self ‘trough seeing the other world. The same can be std of Truffut. This same sensibility i there in Godard, more complex and pethaps unfocused, but especialy attuned to the new realty in America. issper Johns has a series of works in which he reproduces such things as/an American flag, a map, ot an empty beer ean in bronze. In his inting, because i is 2 two-dimensional art, he uses euch things as letter ‘ymbols or maps. In these works we are confronted with things we have ever thought of as being in a painting. Unexpected questions aris, These vorks usually become very active and complex. In a film, “things tend to relate to one another without regard for what we expect, thereby ceiving us. think this is the source ofthe ambiguities and compleiis, and consequently the interest in a film To avid tht, one would have to introduce a sense of inlesses, making 4 movie of extreme duration, viewing everything objectively from a fixed Feit, in the way Warhol land edits. But when there any movement insuth atime sequence, people tend to fllow it bj Is time in 4 movie necesniy subjective? AC any rate, I have the fling that out fare movies wl alfod an United variety of time experiences Beyond Criticism: The Origin ofthe Image ‘The taian pocr-dnetor Pet Palo Pasolini, diver of Hell of Aalion, ‘leitied movies accnding tothe techniques weed He refered othe cade ‘onal lassie movie as "pros," to modern movies a “pote”Confronting Silence Claic moviet ate characterized by ther “stomtelling” qualities, The langunge Hees prose In ontat, the modern move i characterized by te (anise perce of the cmera fel In the grat movies by Chaplin, Kea, ‘soph od Bergman, in which poetic gels ae present, fundamen, principle applies camera be fel In rms ofthe "poetic movie fhe works canna be ented, Theis poetic qualities are {fom something ater san the nord the expressive medi. The words in the porte movi bly deve fom + purely Ieray ste” of contemporary fs I think his Perhaps iat se: In the eral hic more it wot undesnble to pent the promis oft cine wis Bat ew Thnk ie mporcar w let th eens of he cers be Known Tam aware ofthe camera when Te eer Ree eae astrty done oe techie sanding ge amar of prchng thats diftxent fom te tron manne. Oxcioaly theethint-t lm areecto, x mic phone or tine nigeria appear Such uneapeced asd eueetad Ther isthe filmmaker who, very aware of hit viewers films objet fo them oe. On the ate hand ther is ao the fmm who stand wth hs back the wews, he hte eting. Image impli origin tnt alo not fret to coder the poetic or prosaic temperanest ve who are proc atempt to ade the viewer trough objets ile the poetic filmmaker tus his bck to w viewer, so that its if we se the poct athe than what the pet se. Tn the second inte the poe ithe, bt a the ne me he eal is not in tha the view ss though him to the objects beyond, Ver kely these ways of ewig te weld ancora a det ey few movies awaken consciousness. Most evoke a respons i which the viewer idenites with the characters of the sory, ving th ction wih hem. But we ely need “ms that awaken” Int. ine 2. Per Palo Psi, “The Cinema of X Bane yen Lav od Ce Poet Hetil Empire by Laie K Bart (Blooming Indana Unser “4 Conversation on Seng an the movie Bonnie and Clyde (Oretachi ni Auw wa nai in Japanese— Iteally, “There Will Be No Tomorrow] in Boergreen Review, Arthur ean discussed “awakening” at some length. The cruel humor present there i certainly “awakening.” Te was Cocteau who suid that if one talks about “if,” and is sincere, ashe same time and to the same extent he also talks about death. IF this is tae this is already something that goes beyond crtcsm. The very act tf seeing ie beyond criticism. Av any rat, one needs eyes to view the unknown. This is not the unknown so giibly referred to in science fiction movies. eis rather that wich we discover alone, in a personal vay, in eur own speial moments 3. Boni and Ce: An Interview wth Arr Penn” Borgen Revs a. 55 ane 196, pp. 1-43 Frese Ore Croat mo Haeevesomoas [Sue Coinage eel Toxo. SnchOsth, 197 BeThe Landscape of the Score iryui Iwas esay, “The Landscape of the Musi Score sera ia Fe agi ceca Da et ee ving wed cer is piteng sci Tera ti harp rts of «condi wha ta ae bjod te ely of ean the omliny Landscape of be score. It is especially thought-provoking 0 me as a. composer. ee ee be fie acc ies orn ce i ee (peter tbStngtar Cac unertecd ws orb ee eee i nerer al ee erence ed pce in ee iat Innis potion as cndicor snot tht simple. Pat of his role is tht Be eee ete ent wd pen Tete pation iene om tat ofthe taney, much diferent fom tht ofthe concn viewing the archi plan in tht the stands fe ncapcing the comport sae are neta Pecily or bj ‘ete One mighe all tht mace wal esence is proeced by te Anbigues of wing. Grged in the moment of performance, pith ‘th, even loud a all tv, The notion of the sre Sounds symbal ofthe wil toward precision, but ts noe a record of the reals. The coducors roles muy, and. this may seem contacto, iso gp precy tat ambiguity and to exes the dee for constant vay. Ts yin howsnd pefommancsr emitter + thouand iferene expres, Tee this ht ges muse that opr Aeaiy in which «sng cmposion ean be tcreselyperoened, Becthnencondaced by Water or Furano, Sueinty by Orr or ai—tough wing the sume soe thse oracles come sient musi rests became tay recoise thane landscape we el sore pars ofan ongoing waflig of prcholagcal even Le tly the presiclyntatedcotempory sree the eal more 1,8. Bach—hich of thee might be motel of one complesurivese) Jn today vid and onnipeseecommusication the an et bat HEM "Ki no Gens Cals no fe? Men May in Noto hcp fhe Su. Tab (aie by van Shoe) (iy 19S) Fe et - 4. The Landieape ofthe Sere ten cose to 10 such that has toe reed nie leat in anything new. In the sane way that eal pido filed tele, scp judgment in mee guide the nner Een ican coor the ele route, Many wert ve all set dire vith wsimaginstve inkrpeeatial oe eee ee Lee lant your | happen ee pasate of Drofik’s “New Wail yey esata iy Hie Zi fea, In this ameou ee esate eg note so familiar, Iwaki discovered annie landiepe of fond nerer head before Tree thar Taki had writen «book on weight recon for men ait occured to me that this New Work of his war symphony with ‘ned physique without ft. The audience was sured ba perf cn flowing his conducting appeared even more 6. I atended the seals an could sense their beilerment. Tn tI too was purl Bur at kdl wae simply follow the sare atl He mentioned that he cut the fat from the established interpretation. The exaggerated us chat resemble suggesine cosy ad have become ase ‘ih ome works rently appear be part of the pice and many leat have come to accept them at sich, Rate han taking whit sully in the score, even misc specialist tend to accept o use as modes te sicaryexpresions that famous copdactors have resorted Twa expaned tha the “New Ward tha we general ea iades cero hundred rubato pasages ot indeed n the son hit commento tefemance with the Sapporo Symphony he ignored tose Shor and hf followed the aor as writen, A aout J ha he inpenion thatthe tana secret was gone ad the dei of the ‘este appeared. Moreover he Bokemian een ass er. Tt may. sound ad ‘but for the firs time 1 realized why this piece 3 rots conde 4 manepee Meo Fran once emued tat fr «compo tit ‘nly one interpretation, one way to perform the work. If so, was Wall” ‘cet performance the ony scott performance ofthe “New World Srmphony? The aver is yes ann

You might also like

• The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life

  

  From Everand

  The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good Life

  Mark Manson

  Rating: 4 out of 5 stars

  4/5 (5823)
• The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are

  

  From Everand

  The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are

  Brené Brown

  Rating: 4 out of 5 stars

  4/5 (1093)
• Never Split the Difference: Negotiating As If Your Life Depended On It

  

  From Everand

  Never Split the Difference: Negotiating As If Your Life Depended On It

  Chris Voss

  Rating: 4.5 out of 5 stars

  4.5/5 (852)
• • Magazines
  • Podcasts
  • Sheet music
• Principles: Life and Work

  

  From Everand

  Principles: Life and Work

  Ray Dalio

  Rating: 4 out of 5 stars

  4/5 (612)
• The Glass Castle: A Memoir

  

  From Everand

  The Glass Castle: A Memoir

  Jeannette Walls

  Rating: 4.5 out of 5 stars

  4.5/5 (1718)
• Grit: The Power of Passion and Perseverance

  

  From Everand

  Grit: The Power of Passion and Perseverance

  Angela Duckworth

  Rating: 4 out of 5 stars

  4/5 (590)
• Sing, Unburied, Sing: A Novel

  

  From Everand

  Sing, Unburied, Sing: A Novel

  Jesmyn Ward

  Rating: 4 out of 5 stars

  4/5 (1105)
• Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race

  

  From Everand

  Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space Race

  Margot Lee Shetterly

  Rating: 4 out of 5 stars

  4/5 (898)
• Shoe Dog: A Memoir by the Creator of Nike

  

  From Everand

  Shoe Dog: A Memoir by the Creator of Nike

  Phil Knight

  Rating: 4.5 out of 5 stars

  4.5/5 (541)
• The Perks of Being a Wallflower

  

  From Everand

  The Perks of Being a Wallflower

  Stephen Chbosky

  Rating: 4.5 out of 5 stars

  4.5/5 (2105)
• The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers

  

  From Everand

  The Hard Thing About Hard Things: Building a Business When There Are No Easy Answers

  Ben Horowitz

  Rating: 4.5 out of 5 stars

  4.5/5 (349)
• Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future

  

  From Everand

  Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future

  Ashlee Vance

  Rating: 4.5 out of 5 stars

  4.5/5 (474)
• Bad Feminist: Essays

  

  From Everand

  Bad Feminist: Essays

  Roxane Gay

  Rating: 4 out of 5 stars

  4/5 (1025)
• The Outsider: A Novel

  

  From Everand

  The Outsider: A Novel

  Stephen King

  Rating: 4 out of 5 stars

  4/5 (1867)
• Her Body and Other Parties: Stories

  

  From Everand

  Her Body and Other Parties: Stories

  Carmen Maria Machado

  Rating: 4 out of 5 stars

  4/5 (823)
• The Sympathizer: A Novel (Pulitzer Prize for Fiction)

  

  From Everand

  The Sympathizer: A Novel (Pulitzer Prize for Fiction)

  Viet Thanh Nguyen

  Rating: 4.5 out of 5 stars

  4.5/5 (122)
• The Emperor of All Maladies: A Biography of Cancer

  

  From Everand

  The Emperor of All Maladies: A Biography of Cancer

  Siddhartha Mukherjee

  Rating: 4.5 out of 5 stars

  4.5/5 (271)
• Angela's Ashes: A Memoir

  

  From Everand

  Angela's Ashes: A Memoir

  Frank McCourt

  Rating: 4.5 out of 5 stars

  4.5/5 (441)
• Brooklyn: A Novel

  

  From Everand

  Brooklyn: A Novel

  Colm Tóibín

  Rating: 3.5 out of 5 stars

  3.5/5 (1948)
• The Little Book of Hygge: Danish Secrets to Happy Living

  

  From Everand

  The Little Book of Hygge: Danish Secrets to Happy Living

  Meik Wiking

  Rating: 3.5 out of 5 stars

  3.5/5 (403)
• A Man Called Ove: A Novel

  

  From Everand

  A Man Called Ove: A Novel

  Fredrik Backman

  Rating: 4.5 out of 5 stars

  4.5/5 (4771)
• Steve Jobs

  

  From Everand

  Steve Jobs

  Walter Isaacson

  Rating: 4.5 out of 5 stars

  4.5/5 (809)
• η βιβλος της γιογκα

  

  Document200 pages

  η βιβλος της γιογκα

  c alma

  No ratings yet
• Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

  

  From Everand

  Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New America

  Gilbert King

  Rating: 4.5 out of 5 stars

  4.5/5 (266)
• The World Is Flat 3.0: A Brief History of the Twenty-first Century

  

  From Everand

  The World Is Flat 3.0: A Brief History of the Twenty-first Century

  Thomas L. Friedman

  Rating: 3.5 out of 5 stars

  3.5/5 (2259)
• The Art of Racing in the Rain: A Novel

  

  From Everand

  The Art of Racing in the Rain: A Novel

  Garth Stein

  Rating: 4 out of 5 stars

  4/5 (4208)
• A Tree Grows in Brooklyn

  

  From Everand

  A Tree Grows in Brooklyn

  Betty Smith

  Rating: 4.5 out of 5 stars

  4.5/5 (1929)
• The Yellow House: A Memoir (2019 National Book Award Winner)

  

  From Everand

  The Yellow House: A Memoir (2019 National Book Award Winner)

  Sarah M. Broom

  Rating: 4 out of 5 stars

  4/5 (98)
• A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True Story

  

  From Everand

  A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True Story

  Dave Eggers

  Rating: 3.5 out of 5 stars

  3.5/5 (231)
• Yes Please

  

  From Everand

  Yes Please

  Amy Poehler

  Rating: 4 out of 5 stars

  4/5 (1903)
• Team of Rivals: The Political Genius of Abraham Lincoln

  

  From Everand

  Team of Rivals: The Political Genius of Abraham Lincoln

  Doris Kearns Goodwin

  Rating: 4.5 out of 5 stars

  4.5/5 (234)
• The Woman in Cabin 10

  

  From Everand

  The Woman in Cabin 10

  Ruth Ware

  Rating: 3.5 out of 5 stars

  3.5/5 (2522)
• Wolf Hall: A Novel

  

  From Everand

  Wolf Hall: A Novel

  Hilary Mantel

  Rating: 4 out of 5 stars

  4/5 (3973)
• Fear: Trump in the White House

  

  From Everand

  Fear: Trump in the White House

  Bob Woodward

  Rating: 3.5 out of 5 stars

  3.5/5 (738)
• John Adams

  

  From Everand

  John Adams

  David McCullough

  Rating: 4.5 out of 5 stars

  4.5/5 (2409)
• On Fire: The (Burning) Case for a Green New Deal

  

  From Everand

  On Fire: The (Burning) Case for a Green New Deal

  Naomi Klein

  Rating: 4 out of 5 stars

  4/5 (74)
• The Light Between Oceans: A Novel

  

  From Everand

  The Light Between Oceans: A Novel

  M.L. Stedman

  Rating: 4.5 out of 5 stars

  4.5/5 (789)
• Manhattan Beach: A Novel

  

  From Everand

  Manhattan Beach: A Novel

  Jennifer Egan

  Rating: 3.5 out of 5 stars

  3.5/5 (880)
• The Constant Gardener: A Novel

  

  From Everand

  The Constant Gardener: A Novel

  John le Carré

  Rating: 3.5 out of 5 stars

  3.5/5 (104)
• The Unwinding: An Inner History of the New America

  

  From Everand

  The Unwinding: An Inner History of the New America

  George Packer

  Rating: 4 out of 5 stars

  4/5 (45)
• Rise of ISIS: A Threat We Can't Ignore

  

  From Everand

  Rise of ISIS: A Threat We Can't Ignore

  Jay Sekulow

  Rating: 3.5 out of 5 stars

  3.5/5 (137)
• Little Women

  

  From Everand

  Little Women

  Louisa May Alcott

  Rating: 4 out of 5 stars

  4/5 (105)
• David Aldridge - Music and Altered States - Consciousness, Transcendence, Therapy and Addictions-Jessica Kingsley Pub (2009)

  

  Document209 pages

  David Aldridge - Music and Altered States - Consciousness, Transcendence, Therapy and Addictions-Jessica Kingsley Pub (2009)

  c alma

  No ratings yet
• Heart Exercise Booklet Final LRes

  

  Document16 pages

  Heart Exercise Booklet Final LRes

  c alma

  No ratings yet
• For An Ecological Music

  

  Document9 pages

  For An Ecological Music

  c alma

  No ratings yet