Question: Who did the composer of Music for Electric Metronomes study with?

<P0-S0> Toshi Ichiyanagi (一柳 慧 , Ichiyanagi Toshi , born 4 February 1933) is a Japanese composer of avant-garde music. <P0-S1>  He studied with Tomojiro Ikenouchi, Kishio Hirao, and John Cage. <SEP> <P1-S0> Lauri Porra (born December 13, 1977) is a Finnish bassist and composer, best known for his work in Stratovarius and Sinergy. <P1-S1>  Lauri Porra is a fourth generation musician, and the great-grandson of famous Finnish composer Jean Sibelius. <P1-S2>  He started to study music at age 6 when he started to play cello in a local music school. <P1-S3>  In 1993 he switched to bass guitar and continued his studies in the Helsinki Pop Jazz Conservatory (1994–2004). <P1-S4>  Additionally he has taken lessons on piano, double bass, trumpet and male vocals. <P1-S5>  During 1997-1999 he sang with the renowned YL male choir performing for instance with the London Symphony Orchestra. <P1-S6>  He has released three instrumental solo albums. <P1-S7>  He has also composed music to numerous movies, tv-series and commercial spots. <P1-S8>  Lauri´s Entropia concerto for electric bass and orchestra was premiered by Lauri Porra and Lahti Symphony orchestra in 2015. <P1-S9>  In 2016 Lauri was nominated for HARPA nordic film composer music award. <P1-S10>  Lauri won the VOITTO-prize for the best advertisement music of the year in 2016 for his music in Visit Finland´s Polar Night Magic spot. <SEP> <P2-S0> Michael Nicolella (born December 31, 1963 in Providence, RI) is an American classical guitarist and composer. <P2-S1>  Described as an iconoclast, he is known for his versatile, adventurous and eclectic approach to repertoire, including the incorporation of electric guitar into his concert programs and recordings. <P2-S2>  Nicolella's repertoire ranges from the Baroque to the present. <P2-S3>  His most recent recording is his own arrangement of the complete cello suites of Johann Sebastian Bach; while his past four recordings focused on contemporary music, including his own compositions, alongside those of Toru Takemitsu, Elliott Carter, Luciano Berio, Hans Werner Henze and Steve Reich. <P2-S4>  He has championed music by such emerging composers as Laurence Crane and Jacob ter Veldhuis and has premiered many works written for him by other composers, including: Joshua Kohl, (of the Degenerate Art Ensemble), David Mesler, Christopher DeLaurenti and John Fitz Rogers, who in 2001 wrote the forty-five-minute piece "Transit" for Nicolella, scored for electric guitar and computer generated sound. <P2-S5>  His own compositions include works for solo guitar, chamber music with guitar, a classical guitar concerto ("Guitar Concerto"), and an electric guitar concerto ("Ten Years Passed"). <P2-S6>  His most recent major composition for soprano, guitar (electric and classical) and orchestra, "The Flame of the Blue Star of Twilight", was premiered by the Northwest Symphony Orchestra and soprano Alexandra Picard in April 2012. <P2-S7>  He has performed and collaborated with a wide range of groups and artists including: violinist Gil Shaham, rock singer Jon Anderson, best known for his work as lead vocalist in the progressive rock band Yes, broadway legends Bernadette Peters and Brian Stokes Mitchell, the Seattle Guitar Trio, jazz singer Johnaye Kendrick, classical music comedians Igudesman and Joo and is a frequent guest with the Seattle Symphony. <P2-S8>  Nicolella is a graduate of Yale University, Berklee College of Music and the Accademia Musicale Chigiana. <P2-S9>  He is currently based in Seattle, where he serves on the music faculty of Cornish College of the Arts. <P2-S10>  He is married to the painter Ann Gale. <SEP> <P3-S0> Music for Electric Metronomes is an avant-garde aleatoric composition written in 1960 by Japanese composer Toshi Ichiyanagi for any number of performers between three and eight. <P3-S1>  The piece involves the manipulation of electric metronomes, followed by various unspecified sounds and actions. <P3-S2>  It is a very theatrical piece, and reflects Ichiyanagi's affiliation with Fluxus, an experimental art movement from the sixties. <P3-S3>  The only true scored "instrument" is an electric metronome for each individual player, though the varying sounds and/or actions may involve many different instruments and objects at the discretion of the performer. <P3-S4>  Because the graphic notation of score (which is a series of dashes, lines, and numbers in an erratic pattern of connected paths) leaves a lot of room for personal interpretation and expression, each performance is unique, and almost certainly cannot be reproduced. <P3-S5>  There is no conductor for the performance. <P3-S6>  It has been recorded on the album "Toshi Ichiyanagi: 1960's & 1990's". <P3-S7>  In a review of a performance by the S.E.M. Ensemble in 1992 at the Paula Cooper Gallery, the music critic of "The New York Times", Alex Ross, described the piece as "merely a timid, spastic prelude to György Ligeti's monumental "Poème symphonique" for 100 metronomes".