Some context: 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.
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 organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.
was he working on his own or did he get help from others?
A: Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films
Some context: Hedren was born on January 19, 1930, in New Ulm, Minnesota, to Bernard Carl and Dorothea Henrietta (nee Eckhardt) Hedren. For much of her career, Hedren's year of birth was reported as 1935. In 2004, however, she acknowledged that she was actually born in 1930 (which is consistent with the birth registration index at the Minnesota Historical Society). Her paternal grandparents were Swedish immigrants, while her maternal ancestry is German and Norwegian.
In 1981, Hedren produced Roar, an 11-year project that ended up costing $17 million and starring dozens of African lions. "This was probably one of the most dangerous films that Hollywood has ever seen", remarked the actress. "It's amazing no one was killed." During the production of Roar, Hedren, her husband at the time, Noel Marshall, and daughter Melanie were attacked by lions; Jan de Bont, the director of photography, was scalped. Hedren later co-wrote Cats of Shambala (1985) about the experience. Roar made only $2 million worldwide. Hedren ended her marriage to Marshall a year later in 1982. The film directly led to the 1983 establishment of the non-profit Roar Foundation and Hedren's Shambala Preserve, located at the edge of the Mojave Desert in Acton, California, between the Antelope Valley and the Santa Clarita Valley 40 miles (64 km) northeast of Los Angeles. Shambala houses some 70 animals. Hedren lives on the Shambala site and conducts monthly tours of the preserve for the public. In a 2015 interview with ABILITY Magazine, Hedren emphasized that there is no human contact with the animals and that all of the cats are spayed and neutered, since they are being raised in captivity. She took in and cared for Togar, a lion that belonged to Anton LaVey, after he was told by San Francisco officials that he couldn't keep a fully grown lion as a house pet. Shambala became the new home for Michael Jackson's two Bengal tigers, Sabu and Thriller, after he decided to close his zoo at his Neverland Valley Ranch in Los Olivos. Thriller died in June 2012 of lung cancer. On December 3, 2007, Shambala Preserve made headlines when Chris Orr, a caretaker for the animals, was mauled by a tiger named Alexander. Several documentaries have focused on Shambala Preserve, including the 30-minute Lions: Kings of the Serengeti (1995), narrated by Melanie Griffith, and Animal Planet's Life with Big Cats (1998), which won the Genesis Award for best documentary in 1999. The animals at the preserve served as the initial inspiration for the life's work of artist A.E. London, who started her career working for Hedren.
How many animals does the Shambala Perserve house?
A:
Shambala houses some 70 animals.