#sugimoto taku

[eraseer]

otomo yoshihide "anode"

tzadik 2001

scans from discogs

[radiophd]

taku sugimoto -- improvisation

[buttererer]

Tetuzi Akiyama & Taku Sugimoto

Hanegi Park April 11, 2023

[rfl-updates]

love this composition. really curious how this is notated.

[opalid]

"If we define a particular sound that has a particular pitch as the sound that contains a corresponding frequency, we can mathematically prove the fact that (for example) a C note can be in harmony with an E note and a G note by comparing the frequencies of the three. This data can be trusted in regard to the consonance of sounds, but when perceiving consonance phenomena as sensuous impressions, can this sensuous value be absolute? Conceivably, the fact that the notes C, E and G are consonant with each other could be an incidental event. There might have been a chance that these three notes would not be regarded as the consonant sounds or a chord or the sounds with pitches. There might also have been a possible chance that some completely different set of notes - whatever it was - became the consonant sounds, which could have been proved to be consonant mathematically by means of some different method (or could be the same method in a narrow sense) of reading the frequencies. If that had happened, the music would be a completely different form as it is now. Perhaps within the possibilities, some new form of expression that is not regarded as music today could be included, and it might not be impossible to perform a stunt to aggressively insist that this is music. But in order to justify this statement, we need a common concept on what can be defined as music as an initial  premise. In fact, the notes C, E and G are considered to be consonant sounds in the premise we share today, and the other sets of notes that have no relation with each other do not gain important positions in today's world of consonant sounds. That is because any thought experiment regarding music has to be carried out using the foundation of the present situation of music. On the other hand, the aggressive statement, to insist that some form of expression can be regarded as music even when it seems far away from the conventional form of music, naturally derives from the current situation surrounding the music. It should be possible enough to recognize a particular sound as something different from how it was identified in the past."

— Taku Sugimoto, A Philosophical Approach to Silence (tr. Yuko Zama)

[violetganache42]

Pokkén Tournament - Magikarp Festival

[pruzzels]

8952

No one records my ad infinitum what i am trying to pull away what permits my materiality pins down my tongue my captors fly their nets i swear it i saw it the silent subjecting its saber x makes cheap.

[z-zzzzzzz]

[nintendocompositions]

WHO ELSE HAS BEEN HYPE FOR THE MVC COLLECTION ON SWITCH?! I've been hyperfocusing on this high energy fighting game house nonstop music mix for the past four days and I'm SUPER excited to share this with everyone! no matter your play level these tracks will get you MOVING!!

anyway, this is a track from the mix now on soundcloud and youtube!!

https://on.soundcloud.com/hfJFU1GMtixHPmGK8

[of-chitin-wrought-peering]

Taku Sugimoto Onkyo Botched Assassination Burger🥂

[himeraturku]

Himera esittää: Atte Elias Kantonen, Livia Schweizer, Michael Pisaro-Liu

Lauantai / Saturday 18.5. 19:00 (ovet/doors 18:30)

Tehdasteatterin Jokistudio

Liput 8/5€

Ohjelma / Program:

Atte Elias Kantonen - solo electronics

Livia Schweizer - within (1) for solo flute by Michael Pisaro-Liu

Atte Elias Kantonen

Atte Elias Kantonen (b. 1992) is a Helsinki, Finland -based sound designer, sonic artist and composer working mostly in the fields of experimental music and contemporary performing arts. 

The aim of Kantonen’s sounding discipline is to sculpt sound into delicate forms that are constantly affected by a kind of mutant nature encompassing a variety of tones – ranging from glassy to organismic, earthly to ethereal. Kantonen’s composing process consists of creating sonic events that play with the idea of form, space and time as having incessant elasticity. When it comes to designing sound for a performance, Kantonen incorporates spatial and electro-mechanical layers to his designs, ranging from unconventional speaker arrangements to sounding kinetic sculptures. 

Kantonen has a conceptual side project “ant spa ·)((“, which currently consists of a monthly experimental music radio show on IDA radio and experimental music and sound performance event edition “bugbath”. His work has been supported by Arts Promotion Centre Finland and Music Foundation Finland and for the year 2024 by the Kone foundation.

Livia Schweizer

Livia Schweizer (b.1994) is a flutist, improvisor, educator and artistic researcher based in Helsinki. She is known for her interest in improvisation and non-conventional music notation as a tool of bringing together creative souls from different backgrounds, ages and cultures.

Livia grew up in Tuscany and has lived in Finland since 2014. Since moving to Helsinki Livia has been performing solo and in chamber ensembles for festivals such as the Flow Festival, Helsingin Juhlaviikot, the UNM Festival, Tulkinnanvaraista, Luosto Soi, Uuden Musiikin Lokakuu, Jauna Muzika (Lithuania), SoundScapes (Germany), Hiljaisuus Festival and Musica Nova. Her passion towards contemporary and experimental music brought her to be part in several projects with the NYKY-ensemble, Avanti!, Korvat Auki, the UMUU-ensemble, Eloa ry and Tampering, and in 2021 she became member of the Earth Ears Ensemble, an ensemble focused on contemporary music from lesser heard voices.

Michael Pisaro-Liu

Michael Pisaro-Liu (born, Michael Pisaro, 1961 in Buffalo, New York) is a guitarist and composer and a long-time member of the Wandelweiser collective. While, like other members of Wandelweiser, Pisaro-Liu is known for pieces of long duration with periods of silence, in the past fifteen years his work has branched out in many directions, including work with field recording, electronics, improvisation and ensembles of very different kinds of instrumental constitution.

Pisaro-Liu has a long-standing collaboration with percussionist Greg Stuart, with over thirty collaborations (pieces and recordings) to date, including their 3-disc set, Continuum Unbound from 2014 and Umbra & Penumbra for amplified percussion and orchestra premiered by the La Jolla Symphony in February, 2020. Pisaro-Liu also has recurring (intermittent) duos with Christian Wolff, Keith Rowe, Taku Sugimoto, Antoine Beuger, Graham Lambkin, Toshiya Tsunoda and Reinier van Houdt. There are several recent compositions for orchestras of various kinds and constitutions – including commissioned work for the BBC Scottish Symphony, INSUB MetaOrchestra and the Grand Orchestre de Muzzix. Much of his current work takes the form of mixed-media assemblages, in collaboration with filmmaker/artist/writer Cherlyn Hsing-Hsin Pisaro-Liu.

Recordings of his music have been released by Edition Wandelweiser Records, erstwhile records, New World Records, elsewhere music, Hubro, Potlatch, another timbre, meena/ftarri, Senufo Editions, Intonema, winds measure, HEM Berlin and on Pisaro's own imprint, Gravity Wave. His work is regularly performed throughout the US, Europe, South America and Southeast Asia. 

 Pisaro-Liu is the Director of Composition and Experimental Music the California Institute of the Arts.

within (1)

for solo flute

within is a series of six pieces for solo instrument, that were written for the 3-year project at the Zionskirche in Berlin, organized by Wandelweiser members, Carlo Inderhees and Christoph Nicolaus from 1997 to 1999. (3 Jahre - 156 Musikalische Ereignisse - eine Skulptur). It featured the premiere of a 10 minute piece every Tuesday at 7:30pm in the choir balcony of the church. (There were eventually about 30 composers involved in the project.)  “within (1)” for solo flute, was the first piece performed on the series, in January, 1997. Eventually all six of the 10-minute sections were played the church.

The piece is built upon the individual colors of single flute tones. A tone is played once or repeated a number of times before moving to the next. Because of the sustained impression of the single tone, it functions like a “plateau”, whose level changes when the next note occurs (always following a silence). It is a slow moving, glacial, melodic landscape.

[buttererer]

Minami Saeki - glico (version for voice and tenor guitar) (2023)

composed by Minami Saeki

Minami Saeki: voice

Taku Sugimoto: tenor guitar

June 3, 2023 Izumi-Tamagawa, Tokyo

[laurihyvarinen]

Interpretation of Minami Saeki's score 'vacances' released on 2CD on Hitorri.

Disc 1

Denis Sorokin: domra (Russian folk lute) Recorded by Denis Sorokin, March 18, 2023

Fredrik Rasten: acoustic 12-string guitar Recorded by Fredrik Rasten, December 14, 2022

Taku Sugimoto: electric guitar Recorded by Taku Sugimoto, December 2, 2022

Disc 2

Takashi Masubuchi: acoustic guitar Recorded by Takashi Masubuchi, April, 25, 2023

Lauri Hyvärinen: electric guitar Recorded by Lauri Hyvärinen, February 25, 2023

Cristián Alvear: electric guitar Recorded by Cristián Alvear, April 28, 2023

Composition by Minami Saeki, 2018

Mastered by Cristián Alvear Drawing by Erika Woollett-Chiba Design by Cathy Fishman https://hitorri.bandcamp.com/album/vacances

[opalid]

"Is an E note more special than a D note? Is the start-up sound of a computer more interesting than the sound of rain? If it were possible for us to hear sound in such a simple manner, any of these sounds would not be more than any other sound. When we listen to a series of sounds, aren't we evaluating the information each sound delivers in relation with other elements? I think that every sound - like an E note, the start-up sound of a computer or the sound of rain - obtains a nature as a unique sound by its relations with each other."

— Taku Sugimoto, A Philosophical Approach to Silence (tr. Yuko Zama)

[zappak]

Vital Weekly reviewed latest three releases on zappak.

Takashi Masubuchi & Yosuke Morone – Particles and Waves Kaori Komura & Yutaka Hirose – Diastrophism Dance p.o.p. (psychology of perception) – Alien Stewardess

The Japanese Zappak label is always surprising, with music on the fringe of improvisation, sound art, and conceptual art, plus it usually introduces new names. New names such as Yosuke Morone, who plays electronics and prepared sounds in duet with Takashi Masubuchi on acoustic guitar. I know him from various releases on Ftarri, which is also the location where they played on January 28, 2023, and it’s the first time they played together. Radical music is a perfect example of what the label stands for. Two pieces on this CD are named after their duration, ‘[34:18]’ and ‘[33:02]’. The first opens with a high-frequency sine wave sound, which is piercingly loud (and I can’t imagine what it sounds like to someone thirty years younger than me), and the guitar plays individual notes, very quiet and sparse. Think Taku Sugimoto but with a backing of sine waves. Slowly, these sine waves (created with function generators) alter in white noise and, towards the end of this piece, intense bass sounds. The high piercing tones don’t return in the second piece, in which Morone’s contribution is quite different. More like obscured tape hiss, being slowly amplified. In both pieces, there is a gradual build-up towards something much louder (but not noisy). There isn’t much interaction between both players, but that’s the idea of the music here: no responding to each other. The guitar sounds clean, while the electronics are deliberately vague and strange. This works better in the second piece than in the first piece.

The name Kaori Komura popped up in Vital Weekly 1393 when she worked with Kazumoto Endo on a track for a compilation, and she plays Korean percussion instruments. In the 1980s, she was a hardcore punk band GISM member. Yutaka Hirose is a tuba player from Tokyo. He’s also “a member of some bands and ensembles such as “tail”, “Zayaendo”, “Aosaba” and “Itsuki-Hirose”. This CD shows a more traditional side of Zappak’s interest in improvised music. The two pieces were recorded a year ago at Permian in Tokyo. Both instruments sound the way they are supposed to, even when I haven’t got a particular notion about the percussion; it sounds percussion, drum, and cymbal-like. I think their music is all about interaction, and they cleverly play with the notion of loud versus quiet. Sometimes, they are both quiet or loud and sometimes, there is that distinction. In ‘Roaring Pulse’, Komura plays an ongoing rhythm at various points, which you do not often see in improvised music. It’s something I somehow enjoy, maybe as something to hang to in what otherwise may come across as slightly more chaotic. At just under an hour long, this is quite a ride, perhaps better enjoyed with one piece at a time. Let this be my choice of improvised music for this week.

And lastly, p.o.p. (psychology of perception) is preferred in lowercase; I am not sure why you would write between brackets what p.o.p. stands for. Why not use one or the other but not both simultaneously? This is the CD that is not by Japanese musicians, and also to have more than two pieces of music, and is a double CD. I reviewed their ‘Tabriz’ CD in Vital Weekly 888 when p.o.p. was a duo of Reinhold Friedl (piano) and Hannes Strobl (electric bass). With their second release, ‘Ikebana’ (not reviewed in Vital Weekly), they were a quartet, adding Nara Krahl (cello) and Elena Kakaliagou (French horn). The information says, “Alien Stewardess”, concentrates on the question: What do the musicians’ bodies know? Four individual musicians, each with his/her own sound and body memory, create a network of interferences and thus a multiplication of the sonic-kinetic perspectives: sensual, three-dimensional, and organic. Let yourself be guided by the alien stewardess in and out of time and space! Enjoy the journey…” This is the sort of text that is too cryptic for me. It reads well, but what does it mean? As with the previous Zappak release, this is all very nicely improvised, albeit of a much different kind, but two discs spanning some 150 minutes of music is a bit much. In their common approach, they like their sounds to be close together, like an acoustic (almost, that is) drone, out of which small sounds pop (pun intended) up. Because their pieces are long, twenty to thirty minutes (except the first ten minutes), playing this music must sometimes be an endurance test, with full-on concentration. Each piece is like a massive and dense cloud; if you look closely, you’ll see the more minor changes. Maybe there is some chaos, too; if you listen closely, it seems as if not much of this makes much sense, and at the same time, there is that tranquil feeling, almost spacious music. Maybe it’s not strange to think of this music as a fruitful meeting of improvisation and modern composition. Great release, but very long. (Reviewed by Frans de Waard)