#taku sugimoto

[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)

[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]

[eraseer]

otomo yoshihide "anode"

tzadik 2001

scans from discogs

[violetganache42]

Pokkén Tournament - Magikarp Festival

[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🥂

[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

[thomasmartinnutt]

Chance Encounters #012

https://www.mixcloud.com/thomasmartinnutt/chance-encounters-012/#

Alexandra Spence, Christian Mirande, Dau, Sean McCann, Stuart Dempster, N.Racker, Kim Cascone, Danny McCarthy, Li Jianhong, Lyn Hejinian, Nuno Canavarro, Burkhard Stangl and Taku Sugimoto, Hans Abrahamsen, Steven Ball, Jon Hassell, Utah Kawasaki, Toshimaru Nakamura & Tetuzi Akiyama, Rubbish Music, Natasha Barrett, Jaspal Singh Bhogal, Roj and Wolfram Wire, Eliane Radigue, Jan Bang & Erik Honore, Erkki Kurenniemi, Liima, Intersystems, Alvin Curran, The Beatles, Lieutenant Caramel, Wyndham Lewis, Zenker Brothers, Soundwalk Collective, Sherwood & Pinch, Surgeon, Andy Fairley

[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)

[hmgn3]

24-November 散財記録

04(mon) ・daynim / In Your Bad Day (2024, 7inch) ・Georgia + Dove / Air from Air (2023, LP) ・The Recyclers / Morceaux Choisis (1997, used LP) ・idyllic records compilation "New Chapter" (1995, used 2LP) ・Henri Texier Quartet Invite / Invites Joe Lovano / "Paris-Batignolles" (1986, used LP) ・Alcides Neves / Des (Trambelhar) Ou Não (1983, LP) ・Russ Garcia / I'll Never Forget What's Her Name (1956, used LP) ・Ada Moore / Jazz Workshop Volume Three (1955, used LP) 09(sat) ・孤独のヒュード / Shenandoah (2024, CD) ・Daniel Goyone / 2 (1986, used LP) ・Oregon / Crossing (1985, used LP) ・Egberto Gismonti / Sol Do Meio Dia (1978, used LP) ・蕉林喜雨 = Welcome Rain In The Banana Grove (?, used 10inch) ・民族器乐曲：喜看麦田千层浪 = Wave Upon Wave Of Golden Wheat - Folk Instrumentals (?, used 10inch) 11(mon) ・田上碧 / きらきらするすべて (2024, CD) 12(tue) ・Torn Hawk / Let's Cry and Do Pushups at the Same Time (2014, used LP) ・Klimek / Listen, The Snow Is Falling (2005, used 12inch) ・Edward Ball / Edward Ball's L'Orange Mechanik (1989, used LP) ・The Busy Drone / Mechanical Organ (1981, used LP+7inch) ・Anthony Davis & Jay Hoggard / Under the Double Moon (1981, used LP) ・Miriam Makeba / Pata Pata (1967, used 7inch) 16(sat) ・San Ignacio / La Identidad Es Una Trampa (2020, used LP) ・Cured Pink / '11 Put Aside (2014, used 12inch) ・Multiphonic Ensemble vs. Bisk (1997, used 12inch) ・Ulrich Gumpert / 'N Tango Für Gitti (Ulrich Gumpert Solo) (1986, used LP) ・Chick Corea / Tap Step (1980, used LP) ・Carmen Cavallaro and His Orchestra / The Uncollected Carmen Cavallaro, 1946 (1977, used LP) 17(sun) ・The Olivia Tremor Control / The Opera House (1996, used 2x7inch) ・Snapshot / Do the Love Magic! remix+original (1996, used 7inch) ・Hatfield and the North / Hatfield and the North (1974, used LP) 23(sat) ・みみのこと / 猫は夜中に散歩する (2024, cassette) 24(sun) ・Charles Hayward / Anonymous Bash (2014, used LP) ・Ladies Who Lunch / Everybody's Happy Nowadays (1997, used 7inch) ・Eugene Chadbourne / Corpses of Foreign War (1986, used LP) 27(wed) ・The Happy End / Turn Things Upside Down (1990, used LP) 30(sat) ・Taku Sugimoto / Since 2016 (2024, used LP) ・Luis / 057 (Schwyn) (2022, used 12inch) ・Cibo Matto / Super Relax (1997, used 12inch)

[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.