Takehisa Kosugi - Performance album FLAC
Performer – Takehisa Kosugi. Mano-Dharma '74: an excerpt from a meta-media solo improvisation perforemed by Takehisa Kosugi Wave Code triple performance by solo vocalist; Takehisa Kosugi Recorded Date : September 16, 17, 1974 Location : CBS/Sony Studio No. 1 Many thanks to Messrs.
Tokyo violinist Takehisa Kosugi was a major figure in the Japanese avant-garde scene since the late 1950s. As one of the earliest musicians to bring Fluxus and improvisational movements to Japan, Kosugi'. ead Full Biography. Overview . Biography . Discography . Compositions .
Takehisa Kosugi performing in 1988. Photo: Sabine Matthes. October 15, 2018 at 3:52pm. In 1960, Kosugi cofounded Group Ongaku, a Tokyo-based collective widely considered the first improvisational music ensemble formed in both the country and the world. In the 1970s, he helped create the Taj Mahal Travelers octet. In addition to using his violin, often warped through echo chambers and delays, Kosugi also turned to quotidian objects, as well as silence-in one performance he played an amplified cactus with a feather-to unearth his idiosyncratic, absorbing sounds. In 1964, Fluxus founder George Maciunas published Kosugi’s Events, a kit of eighteen instructional cards that embraced everyday actions as music.
TAKEHISA KOSUGI is a Progressive Electronic, Progressive Rock artist from Japan. Progressive Electronic, Japan.
Takehisa Kosugi, a key figure in Japan’s postwar avant garde music scene, was born in 1938, the eldest son of a Tokyo glazier. He played the violin from a young age, having acquired the stringless body of an instrument from a school friend in exchange for a kit radio. However, it was his use of the heterodyne effect that would inform much of his work. He found that by placing two generators in close proximity, the intermodulation of two high frequency radio waves inaudible to the human ear could create an audible phasing soundwave. This heterodyne effect – of making the inaudible audible, the invisible visible, transcending the human sensory range – has played a massively important part in his music ever since. In the 1960s, while still at art collage, Kosugi formed Japan's first improv collective Group Ongaku. He was also a member of Hi-Red Centre, a short-lived radical art collective active between 1963–64.
In 1963 Takehisa Kosugi composed for Fluxus 1 a musical piece called Theatre Music in the form of a rectangle of cardstock that bore the trace of a spiral of moving feet. This was paired with the instructions: "Keep walking intently". Since 1995, Kosugi has served as music director for the Merce Cunningham Dance Company, and lives in Osaka, Japan. His 1960s career with Group Ongaku is extensively explained in the 32-page essay "Experimental Japan," which appears in the book Japrocksampler (Bloomsbury, 2007), by ltist Julian Cope. Kosugi received a John Cage Award for Music from Foundation for Contemporary Performance Arts in 1994. YouTube Encyclopedic.
Listen to music from Takehisa Kosugi like Mano Dharma '74, Wave Code & more. Find the latest tracks, albums, and images from Takehisa Kosugi. Takehisa Kosugi (小杉武久, Tokyo, Japan, 14 March 1938 - 12 October 2018) was a Japanese composer, violinist and performer working in the field of contemporary classical music. He is associated with the Fluxus movement, worked with John Cage and David Tudor, and has served as music director for the Merce Cunningham Dance Company.
|3||Anima 2 (Chamber Music)|
|5||Film & Film #4|
|10||75 Letters And Improvisation|
|15||Interspersion For 54 Sounds|
- Performer – Atsushi Nishijima, Kiyoshi Izumi, Kyoto University Symphony Orchestra, Sasagu Yasui, Takehisa Kosugi, Yasuhiko Hamachi, Yoshio Nakase
NotesDocumentation of 4 retrospective performances given by Takehisa Kosugi at Ashiya City Museum Of Art & History:
Music Expanded [5/24/1996] - Fluxus pieces written between 1961 and 1967.
Catch-Wave '96 [6/14/1996] - a new version of his famous 1974 piece.
Modulation [6/15/1996] - pieces from 1986 to 1996, including an update of "Music G" from 1966.
Wireless [7/6/1996] - a new improvisation in the musuem lobby.
plus video documentation of the four sound installations exhibited at the museum.
55 minutes total.