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|Title:||'Kwaidan' and 'Eclipse' as Examples of Takemitsu's Approach to Biwa||Contributor(s):||de Ferranti, Hugh (author)||Publication Date:||2004||Handle Link:||https://hdl.handle.net/1959.11/1999||Abstract:||From the early 1960s Takemitsu began to seek reconciliation of his Japanese identity with his decidedly "Western" musical activities. He started his exploration of traditional music in 1961 by taking lessons in biwa, and from then until the composition of 'November Steps' in 1967 he treated biwa as both an icon of traditional cultural experience and a sonic resource compatible with international avant-garde practice; this was an approach that he applied to other traditional instruments in turn - most notably, the shakuhachi. He later identified compositions for biwa and shakuhachi that he wrote during 1966-1967, in particular, as pivotal works in his artistic development.Takemitsu collaborated with the celebrated biwa performer, Tsuruta Kinshi (1911-1995), on all but two of his compositions for the instrument. Today I will present historical and analytical documentation of the composer's approach to biwa (as played by Tsuruta) during 1961-1966, in particular in two key works: the music for the 1964 film 'Kwaidan', and the 1966 concert piece 'Eclipse'.||Publication Type:||Conference Publication||Conference Name:||International Congress in Shizuoka 2002 in Celebration of the 50th Anniversary of the Musicological Society of Japan, Shizuoka, 2-5 November, 2002||Source of Publication:||Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002 in Celebration of the 50th Anniversary of the Musicological Society of Japan, p. 415-418||Publisher:||Musicological Society of Japan||Place of Publication:||Tokyo, Japan||Field of Research (FOR):||200312 Japanese Language||Peer Reviewed:||Yes||HERDC Category Description:||E1 Refereed Scholarly Conference Publication||Other Links:||http://www.tfront.com/product.php?pid=201191&qstring=Congress%20Reports&qformat=BK&lm1=50&nf=111
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