Título: Tōru Takemitsu
Seção: Early development and Jikken Kobo
Background: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.

Conteúdo: In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had

user: what was Jikken Kobo?

assistant: an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition.

user: what kind of projects did they produce?

assistant: During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines);

user: what else did he produce?

assistant: by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956).

user: was he working on his own or did he get help from others?

assistant: Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films

user: What films did he write for?

assistant: films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.

user: did he get any awards for his music?

assistant: CANNOTANSWER

user: what genre of music did his productions have?

assistant: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan.

user: what year did the early development start?

assistant: In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube.