Book contents
- Frontmatter
- Contents
- Acknowledgements
- Note on conventions
- Introduction
- 1 Pre-history: how Western music came to Japan
- 2 Music and ‘pre-music’: Takemitsu's early years
- 3 Experimental workshop: the years of Jikken Kōbō
- 4 The Requiem and its reception
- 5 Projections on to a Western mirror
- 6 ‘Cage shock’ and after
- 7 Projections on to an Eastern mirror
- 8 Modernist apogee: the early 1970s
- 9 Descent into the pentagonal garden
- 10 Towards the sea of tonality: the works of the 1980s
- 11 Beyond the far calls: the final years
- 12 Swimming in the ocean that has no West or East
- Notes
- List of Takemitsu's Works
- Select bibliography
- Index
Book contents
- Frontmatter
- Contents
- Acknowledgements
- Note on conventions
- Introduction
- 1 Pre-history: how Western music came to Japan
- 2 Music and ‘pre-music’: Takemitsu's early years
- 3 Experimental workshop: the years of Jikken Kōbō
- 4 The Requiem and its reception
- 5 Projections on to a Western mirror
- 6 ‘Cage shock’ and after
- 7 Projections on to an Eastern mirror
- 8 Modernist apogee: the early 1970s
- 9 Descent into the pentagonal garden
- 10 Towards the sea of tonality: the works of the 1980s
- 11 Beyond the far calls: the final years
- 12 Swimming in the ocean that has no West or East
- Notes
- List of Takemitsu's Works
- Select bibliography
- Index
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- The Music of Toru Takemitsu , pp. xi - xiiPublisher: Cambridge University PressPrint publication year: 2001
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