• DOI:10.2307/1513190
• Corpus ID: 193084745

The History of Electronic and Computer Music in Japan: Significant Composers and Their Works

@article{Shimazu1994TheHO,
  title={The History of Electronic and Computer Music in Japan: Significant Composers and Their Works},
  author={Takehito Shimazu},
  journal={Leonardo Music Journal},
  year={1994},
  volume={4},
  pages={102 - 106}
}

• T. Shimazu
• Published 6 July 2016
• Art
• Leonardo Music Journal

cide together what they wanted and needed, rather than merely participat­ ing as guests of organizations that often misunderstand the qualities of the art­ ists they solicit. Because of the energy demanded by such a project and the lack of interest on the part of large in­ stitutions in this domain of artistic cre­ ation, there have been only a few attempts to conduct this kind of tour in recent times. Proposals to do so have encountered severe financial problems. Conceptual questions are no less im­ portant than practical ones. In fact, these elements are intrinsically related. In art that uses different media in com­ bination, resolving the problem of cre­ ation and organization depends on the artist's ability to evaluate the balance between the media. A work that relates different artistic domains has to be con­ ceived on the basis of a cognition and comprehension of each domain: that is, a collaboration between them. Synaesthetics do not arise from an in­ nocent and irresponsible relationship between different fields of perception. The question of relations between the artists, their works and the environ­ ment is similar. In the case of perfor­ mance, a work takes place in a particular space in front of a particular audience and will have specific rela­ tions with them. The work will be con­ ceived according to these relations, unless it remains incoherent. The project of a festival should be conceived in the same way that a musical composi­ tion, a painting or any kind of (art)work is conceived. However, it must deal not only with the medium of sound, but also with the artists, their works, the technical staff, the architec­ ture of the concert hall, the audience, the weather, the economic and social situation, and so on. The reverse is also true: if we think of a composition as a social model, it has to function with the same (in)efficiency. These are the main ideas that gov­ erned the conception of the Megalopo­ lis Aborigines Tour. The European audience showed a great interest in the program we presented and some of the artists, such as Opera, have been in­ vited to other festivals as a conse­ quence. I hope that stich enthusiasm will have some influence on the "execu­ tive" personalities who patronize Japa­ nese contemporary art and will help bring recognition to this kind of activ­ ity. I also hope that these events can happen sooner in Europe and America, so that Western audiences can develop more precise ideas of Japanese contem­ porary culture.