CINXE.COM

<!DOCTYPE html> <html class="client-nojs skin-theme-clientpref-day mf-expand-sections-clientpref-0 mf-font-size-clientpref-small mw-mf-amc-clientpref-0" lang="en" dir="ltr"> <head> <meta charset="UTF-8"> <title>Tōru Takemitsu - Wikipedia</title> <script>(function(){var className="client-js skin-theme-clientpref-day mf-expand-sections-clientpref-0 mf-font-size-clientpref-small mw-mf-amc-clientpref-0";var cookie=document.cookie.match(/(?:^|; )enwikimwclientpreferences=([^;]+)/);if(cookie){cookie[1].split('%2C').forEach(function(pref){className=className.replace(new RegExp('(^| )'+pref.replace(/-clientpref-\w+$|[^\w-]+/g,'')+'-clientpref-\\w+( |$)'),'$1'+pref+'$2');});}document.documentElement.className=className;}());RLCONF={"wgBreakFrames":false,"wgSeparatorTransformTable":["",""],"wgDigitTransformTable":["",""],"wgDefaultDateFormat":"dmy","wgMonthNames":["","January","February","March","April","May","June","July","August","September","October","November","December"],"wgRequestId":"cd4107d6-0b3a-477c-a508-dd39e3781a84","wgCanonicalNamespace":"","wgCanonicalSpecialPageName":false,"wgNamespaceNumber":0,"wgPageName":"Tōru_Takemitsu","wgTitle":"Tōru Takemitsu","wgCurRevisionId":1276780772,"wgRevisionId":1276780772,"wgArticleId":222568, "wgIsArticle":true,"wgIsRedirect":false,"wgAction":"view","wgUserName":null,"wgUserGroups":["*"],"wgPageViewLanguage":"en","wgPageContentLanguage":"en","wgPageContentModel":"wikitext","wgRelevantPageName":"Tōru_Takemitsu","wgRelevantArticleId":222568,"wgIsProbablyEditable":true,"wgRelevantPageIsProbablyEditable":true,"wgRestrictionEdit":[],"wgRestrictionMove":[],"wgNoticeProject":"wikipedia","wgCiteReferencePreviewsActive":false,"wgFlaggedRevsParams":{"tags":{"status":{"levels":1}}},"wgMediaViewerOnClick":true,"wgMediaViewerEnabledByDefault":true,"wgPopupsFlags":0,"wgVisualEditor":{"pageLanguageCode":"en","pageLanguageDir":"ltr","pageVariantFallbacks":"en"},"wgMFMode":"stable","wgMFAmc":false,"wgMFAmcOutreachActive":false,"wgMFAmcOutreachUserEligible":false,"wgMFLazyLoadImages":true,"wgMFEditNoticesFeatureConflict":false,"wgMFDisplayWikibaseDescriptions":{"search":true,"watchlist":true,"tagline":false,"nearby":true},"wgMFIsSupportedEditRequest":true,"wgMFScriptPath":"", "wgWMESchemaEditAttemptStepOversample":false,"wgWMEPageLength":60000,"wgEditSubmitButtonLabelPublish":true,"wgSectionTranslationMissingLanguages":[{"lang":"ace","autonym":"Acèh","dir":"ltr"},{"lang":"ady","autonym":"адыгабзэ","dir":"ltr"},{"lang":"alt","autonym":"алтай тил","dir":"ltr"},{"lang":"am","autonym":"አማርኛ","dir":"ltr"},{"lang":"ami","autonym":"Pangcah","dir":"ltr"},{"lang":"an","autonym":"aragonés","dir":"ltr"},{"lang":"ang","autonym":"Ænglisc","dir":"ltr"},{"lang":"ann","autonym":"Obolo","dir":"ltr"},{"lang":"anp","autonym":"अंगिका","dir":"ltr"},{"lang":"ary","autonym":"الدارجة","dir":"rtl"},{"lang":"as","autonym":"অসমীয়া","dir":"ltr"},{"lang":"ast","autonym":"asturianu","dir":"ltr"},{"lang":"av","autonym":"авар","dir":"ltr"},{"lang":"avk","autonym":"Kotava","dir":"ltr"},{"lang":"awa","autonym":"अवधी","dir":"ltr"},{"lang":"ay","autonym":"Aymar aru","dir":"ltr"},{"lang":"azb","autonym":"تۆرکجه", "dir":"rtl"},{"lang":"ba","autonym":"башҡортса","dir":"ltr"},{"lang":"ban","autonym":"Basa Bali","dir":"ltr"},{"lang":"bar","autonym":"Boarisch","dir":"ltr"},{"lang":"bbc","autonym":"Batak Toba","dir":"ltr"},{"lang":"bcl","autonym":"Bikol Central","dir":"ltr"},{"lang":"bdr","autonym":"Bajau Sama","dir":"ltr"},{"lang":"be","autonym":"беларуская","dir":"ltr"},{"lang":"bew","autonym":"Betawi","dir":"ltr"},{"lang":"bho","autonym":"भोजपुरी","dir":"ltr"},{"lang":"bi","autonym":"Bislama","dir":"ltr"},{"lang":"bjn","autonym":"Banjar","dir":"ltr"},{"lang":"blk","autonym":"ပအိုဝ်ႏဘာႏသာႏ","dir":"ltr"},{"lang":"bm","autonym":"bamanankan","dir":"ltr"},{"lang":"bn","autonym":"বাংলা","dir":"ltr"},{"lang":"bo","autonym":"བོད་ཡིག","dir":"ltr"},{"lang":"bpy","autonym":"বিষ্ণুপ্রিয়া মণিপুরী","dir":"ltr"},{"lang":"br","autonym":"brezhoneg","dir":"ltr"},{"lang":"bs","autonym": "bosanski","dir":"ltr"},{"lang":"btm","autonym":"Batak Mandailing","dir":"ltr"},{"lang":"bug","autonym":"Basa Ugi","dir":"ltr"},{"lang":"cdo","autonym":"閩東語 / Mìng-dĕ̤ng-ngṳ̄","dir":"ltr"},{"lang":"ce","autonym":"нохчийн","dir":"ltr"},{"lang":"ceb","autonym":"Cebuano","dir":"ltr"},{"lang":"ch","autonym":"Chamoru","dir":"ltr"},{"lang":"chr","autonym":"ᏣᎳᎩ","dir":"ltr"},{"lang":"ckb","autonym":"کوردی","dir":"rtl"},{"lang":"co","autonym":"corsu","dir":"ltr"},{"lang":"cr","autonym":"Nēhiyawēwin / ᓀᐦᐃᔭᐍᐏᐣ","dir":"ltr"},{"lang":"crh","autonym":"qırımtatarca","dir":"ltr"},{"lang":"cu","autonym":"словѣньскъ / ⰔⰎⰑⰂⰡⰐⰠⰔⰍⰟ","dir":"ltr"},{"lang":"cy","autonym":"Cymraeg","dir":"ltr"},{"lang":"dag","autonym":"dagbanli","dir":"ltr"},{"lang":"dga","autonym":"Dagaare","dir":"ltr"},{"lang":"din","autonym":"Thuɔŋjäŋ","dir":"ltr"},{"lang":"diq","autonym":"Zazaki","dir":"ltr"},{"lang":"dsb","autonym":"dolnoserbski","dir": "ltr"},{"lang":"dtp","autonym":"Kadazandusun","dir":"ltr"},{"lang":"dv","autonym":"ދިވެހިބަސް","dir":"rtl"},{"lang":"dz","autonym":"ཇོང་ཁ","dir":"ltr"},{"lang":"ee","autonym":"eʋegbe","dir":"ltr"},{"lang":"eml","autonym":"emiliàn e rumagnòl","dir":"ltr"},{"lang":"fat","autonym":"mfantse","dir":"ltr"},{"lang":"ff","autonym":"Fulfulde","dir":"ltr"},{"lang":"fj","autonym":"Na Vosa Vakaviti","dir":"ltr"},{"lang":"fo","autonym":"føroyskt","dir":"ltr"},{"lang":"fon","autonym":"fɔ̀ngbè","dir":"ltr"},{"lang":"frp","autonym":"arpetan","dir":"ltr"},{"lang":"frr","autonym":"Nordfriisk","dir":"ltr"},{"lang":"fur","autonym":"furlan","dir":"ltr"},{"lang":"fy","autonym":"Frysk","dir":"ltr"},{"lang":"gag","autonym":"Gagauz","dir":"ltr"},{"lang":"gan","autonym":"贛語","dir":"ltr"},{"lang":"gcr","autonym":"kriyòl gwiyannen","dir":"ltr"},{"lang":"glk","autonym":"گیلکی","dir":"rtl"},{"lang":"gn","autonym":"Avañe'ẽ","dir":"ltr"},{"lang":"gom","autonym": "गोंयची कोंकणी / Gõychi Konknni","dir":"ltr"},{"lang":"gor","autonym":"Bahasa Hulontalo","dir":"ltr"},{"lang":"gpe","autonym":"Ghanaian Pidgin","dir":"ltr"},{"lang":"gu","autonym":"ગુજરાતી","dir":"ltr"},{"lang":"guc","autonym":"wayuunaiki","dir":"ltr"},{"lang":"gur","autonym":"farefare","dir":"ltr"},{"lang":"guw","autonym":"gungbe","dir":"ltr"},{"lang":"gv","autonym":"Gaelg","dir":"ltr"},{"lang":"ha","autonym":"Hausa","dir":"ltr"},{"lang":"hak","autonym":"客家語 / Hak-kâ-ngî","dir":"ltr"},{"lang":"haw","autonym":"Hawaiʻi","dir":"ltr"},{"lang":"hi","autonym":"हिन्दी","dir":"ltr"},{"lang":"hif","autonym":"Fiji Hindi","dir":"ltr"},{"lang":"hr","autonym":"hrvatski","dir":"ltr"},{"lang":"hsb","autonym":"hornjoserbsce","dir":"ltr"},{"lang":"ht","autonym":"Kreyòl ayisyen","dir":"ltr"},{"lang":"hy","autonym":"հայերեն","dir":"ltr"},{"lang":"hyw","autonym":"Արեւմտահայերէն","dir":"ltr"},{"lang":"ia","autonym": "interlingua","dir":"ltr"},{"lang":"iba","autonym":"Jaku Iban","dir":"ltr"},{"lang":"ie","autonym":"Interlingue","dir":"ltr"},{"lang":"ig","autonym":"Igbo","dir":"ltr"},{"lang":"igl","autonym":"Igala","dir":"ltr"},{"lang":"ilo","autonym":"Ilokano","dir":"ltr"},{"lang":"is","autonym":"íslenska","dir":"ltr"},{"lang":"iu","autonym":"ᐃᓄᒃᑎᑐᑦ / inuktitut","dir":"ltr"},{"lang":"jam","autonym":"Patois","dir":"ltr"},{"lang":"jv","autonym":"Jawa","dir":"ltr"},{"lang":"ka","autonym":"ქართული","dir":"ltr"},{"lang":"kaa","autonym":"Qaraqalpaqsha","dir":"ltr"},{"lang":"kab","autonym":"Taqbaylit","dir":"ltr"},{"lang":"kbd","autonym":"адыгэбзэ","dir":"ltr"},{"lang":"kbp","autonym":"Kabɩyɛ","dir":"ltr"},{"lang":"kcg","autonym":"Tyap","dir":"ltr"},{"lang":"kg","autonym":"Kongo","dir":"ltr"},{"lang":"kge","autonym":"Kumoring","dir":"ltr"},{"lang":"ki","autonym":"Gĩkũyũ","dir":"ltr"},{"lang":"kk","autonym":"қазақша","dir":"ltr"},{"lang":"kl","autonym": "kalaallisut","dir":"ltr"},{"lang":"km","autonym":"ភាសាខ្មែរ","dir":"ltr"},{"lang":"kn","autonym":"ಕನ್ನಡ","dir":"ltr"},{"lang":"knc","autonym":"Yerwa Kanuri","dir":"ltr"},{"lang":"koi","autonym":"перем коми","dir":"ltr"},{"lang":"krc","autonym":"къарачай-малкъар","dir":"ltr"},{"lang":"ks","autonym":"कॉशुर / کٲشُر","dir":"rtl"},{"lang":"ku","autonym":"kurdî","dir":"ltr"},{"lang":"kus","autonym":"Kʋsaal","dir":"ltr"},{"lang":"kv","autonym":"коми","dir":"ltr"},{"lang":"kw","autonym":"kernowek","dir":"ltr"},{"lang":"ky","autonym":"кыргызча","dir":"ltr"},{"lang":"lad","autonym":"Ladino","dir":"ltr"},{"lang":"lb","autonym":"Lëtzebuergesch","dir":"ltr"},{"lang":"lez","autonym":"лезги","dir":"ltr"},{"lang":"lg","autonym":"Luganda","dir":"ltr"},{"lang":"li","autonym":"Limburgs","dir":"ltr"},{"lang":"lij","autonym":"Ligure","dir":"ltr"},{"lang":"lld","autonym":"Ladin","dir":"ltr"},{"lang":"lmo","autonym": "lombard","dir":"ltr"},{"lang":"ln","autonym":"lingála","dir":"ltr"},{"lang":"lo","autonym":"ລາວ","dir":"ltr"},{"lang":"ltg","autonym":"latgaļu","dir":"ltr"},{"lang":"mad","autonym":"Madhurâ","dir":"ltr"},{"lang":"mai","autonym":"मैथिली","dir":"ltr"},{"lang":"map-bms","autonym":"Basa Banyumasan","dir":"ltr"},{"lang":"mdf","autonym":"мокшень","dir":"ltr"},{"lang":"mg","autonym":"Malagasy","dir":"ltr"},{"lang":"mhr","autonym":"олык марий","dir":"ltr"},{"lang":"mi","autonym":"Māori","dir":"ltr"},{"lang":"min","autonym":"Minangkabau","dir":"ltr"},{"lang":"mk","autonym":"македонски","dir":"ltr"},{"lang":"ml","autonym":"മലയാളം","dir":"ltr"},{"lang":"mn","autonym":"монгол","dir":"ltr"},{"lang":"mni","autonym":"ꯃꯤꯇꯩ ꯂꯣꯟ","dir":"ltr"},{"lang":"mnw","autonym":"ဘာသာမန်","dir":"ltr"},{"lang":"mos","autonym":"moore","dir":"ltr"},{"lang":"mr","autonym":"मराठी","dir":"ltr"},{"lang":"mrj","autonym": "кырык мары","dir":"ltr"},{"lang":"ms","autonym":"Bahasa Melayu","dir":"ltr"},{"lang":"mt","autonym":"Malti","dir":"ltr"},{"lang":"mwl","autonym":"Mirandés","dir":"ltr"},{"lang":"my","autonym":"မြန်မာဘာသာ","dir":"ltr"},{"lang":"myv","autonym":"эрзянь","dir":"ltr"},{"lang":"mzn","autonym":"مازِرونی","dir":"rtl"},{"lang":"nah","autonym":"Nāhuatl","dir":"ltr"},{"lang":"nan","autonym":"閩南語 / Bân-lâm-gú","dir":"ltr"},{"lang":"nap","autonym":"Napulitano","dir":"ltr"},{"lang":"nb","autonym":"norsk bokmål","dir":"ltr"},{"lang":"nds","autonym":"Plattdüütsch","dir":"ltr"},{"lang":"nds-nl","autonym":"Nedersaksies","dir":"ltr"},{"lang":"ne","autonym":"नेपाली","dir":"ltr"},{"lang":"new","autonym":"नेपाल भाषा","dir":"ltr"},{"lang":"nia","autonym":"Li Niha","dir":"ltr"},{"lang":"nn","autonym":"norsk nynorsk","dir":"ltr"},{"lang":"nqo","autonym":"ߒߞߏ","dir":"rtl"},{"lang":"nr","autonym":"isiNdebele seSewula", "dir":"ltr"},{"lang":"nso","autonym":"Sesotho sa Leboa","dir":"ltr"},{"lang":"ny","autonym":"Chi-Chewa","dir":"ltr"},{"lang":"oc","autonym":"occitan","dir":"ltr"},{"lang":"om","autonym":"Oromoo","dir":"ltr"},{"lang":"or","autonym":"ଓଡ଼ିଆ","dir":"ltr"},{"lang":"os","autonym":"ирон","dir":"ltr"},{"lang":"pa","autonym":"ਪੰਜਾਬੀ","dir":"ltr"},{"lang":"pag","autonym":"Pangasinan","dir":"ltr"},{"lang":"pam","autonym":"Kapampangan","dir":"ltr"},{"lang":"pap","autonym":"Papiamentu","dir":"ltr"},{"lang":"pcd","autonym":"Picard","dir":"ltr"},{"lang":"pcm","autonym":"Naijá","dir":"ltr"},{"lang":"pdc","autonym":"Deitsch","dir":"ltr"},{"lang":"pms","autonym":"Piemontèis","dir":"ltr"},{"lang":"pnb","autonym":"پنجابی","dir":"rtl"},{"lang":"ps","autonym":"پښتو","dir":"rtl"},{"lang":"pwn","autonym":"pinayuanan","dir":"ltr"},{"lang":"qu","autonym":"Runa Simi","dir":"ltr"},{"lang":"rm","autonym":"rumantsch","dir":"ltr"},{"lang":"rn","autonym":"ikirundi","dir":"ltr"},{ "lang":"rsk","autonym":"руски","dir":"ltr"},{"lang":"rue","autonym":"русиньскый","dir":"ltr"},{"lang":"rup","autonym":"armãneashti","dir":"ltr"},{"lang":"rw","autonym":"Ikinyarwanda","dir":"ltr"},{"lang":"sa","autonym":"संस्कृतम्","dir":"ltr"},{"lang":"sah","autonym":"саха тыла","dir":"ltr"},{"lang":"sat","autonym":"ᱥᱟᱱᱛᱟᱲᱤ","dir":"ltr"},{"lang":"sc","autonym":"sardu","dir":"ltr"},{"lang":"scn","autonym":"sicilianu","dir":"ltr"},{"lang":"sco","autonym":"Scots","dir":"ltr"},{"lang":"sd","autonym":"سنڌي","dir":"rtl"},{"lang":"se","autonym":"davvisámegiella","dir":"ltr"},{"lang":"sg","autonym":"Sängö","dir":"ltr"},{"lang":"sgs","autonym":"žemaitėška","dir":"ltr"},{"lang":"sh","autonym":"srpskohrvatski / српскохрватски","dir":"ltr"},{"lang":"shi","autonym":"Taclḥit","dir":"ltr"},{"lang":"shn","autonym":"တႆး","dir":"ltr"},{"lang":"si","autonym":"සිංහල","dir":"ltr"},{"lang":"sk","autonym": "slovenčina","dir":"ltr"},{"lang":"skr","autonym":"سرائیکی","dir":"rtl"},{"lang":"sl","autonym":"slovenščina","dir":"ltr"},{"lang":"sm","autonym":"Gagana Samoa","dir":"ltr"},{"lang":"smn","autonym":"anarâškielâ","dir":"ltr"},{"lang":"sn","autonym":"chiShona","dir":"ltr"},{"lang":"so","autonym":"Soomaaliga","dir":"ltr"},{"lang":"sq","autonym":"shqip","dir":"ltr"},{"lang":"sr","autonym":"српски / srpski","dir":"ltr"},{"lang":"srn","autonym":"Sranantongo","dir":"ltr"},{"lang":"ss","autonym":"SiSwati","dir":"ltr"},{"lang":"st","autonym":"Sesotho","dir":"ltr"},{"lang":"stq","autonym":"Seeltersk","dir":"ltr"},{"lang":"su","autonym":"Sunda","dir":"ltr"},{"lang":"sw","autonym":"Kiswahili","dir":"ltr"},{"lang":"szl","autonym":"ślůnski","dir":"ltr"},{"lang":"ta","autonym":"தமிழ்","dir":"ltr"},{"lang":"tay","autonym":"Tayal","dir":"ltr"},{"lang":"tcy","autonym":"ತುಳು","dir":"ltr"},{"lang":"tdd","autonym":"ᥖᥭᥰ ᥖᥬᥲ ᥑᥨᥒᥰ","dir":"ltr"},{ "lang":"te","autonym":"తెలుగు","dir":"ltr"},{"lang":"tet","autonym":"tetun","dir":"ltr"},{"lang":"tg","autonym":"тоҷикӣ","dir":"ltr"},{"lang":"th","autonym":"ไทย","dir":"ltr"},{"lang":"ti","autonym":"ትግርኛ","dir":"ltr"},{"lang":"tig","autonym":"ትግሬ","dir":"ltr"},{"lang":"tk","autonym":"Türkmençe","dir":"ltr"},{"lang":"tl","autonym":"Tagalog","dir":"ltr"},{"lang":"tly","autonym":"tolışi","dir":"ltr"},{"lang":"tn","autonym":"Setswana","dir":"ltr"},{"lang":"to","autonym":"lea faka-Tonga","dir":"ltr"},{"lang":"tpi","autonym":"Tok Pisin","dir":"ltr"},{"lang":"trv","autonym":"Seediq","dir":"ltr"},{"lang":"ts","autonym":"Xitsonga","dir":"ltr"},{"lang":"tt","autonym":"татарча / tatarça","dir":"ltr"},{"lang":"tum","autonym":"chiTumbuka","dir":"ltr"},{"lang":"tw","autonym":"Twi","dir":"ltr"},{"lang":"ty","autonym":"reo tahiti","dir":"ltr"},{"lang":"tyv","autonym":"тыва дыл","dir":"ltr"},{"lang":"udm","autonym":"удмурт","dir":"ltr"},{ "lang":"ur","autonym":"اردو","dir":"rtl"},{"lang":"uz","autonym":"oʻzbekcha / ўзбекча","dir":"ltr"},{"lang":"ve","autonym":"Tshivenda","dir":"ltr"},{"lang":"vec","autonym":"vèneto","dir":"ltr"},{"lang":"vep","autonym":"vepsän kel’","dir":"ltr"},{"lang":"vls","autonym":"West-Vlams","dir":"ltr"},{"lang":"vo","autonym":"Volapük","dir":"ltr"},{"lang":"vro","autonym":"võro","dir":"ltr"},{"lang":"wa","autonym":"walon","dir":"ltr"},{"lang":"war","autonym":"Winaray","dir":"ltr"},{"lang":"wo","autonym":"Wolof","dir":"ltr"},{"lang":"wuu","autonym":"吴语","dir":"ltr"},{"lang":"xal","autonym":"хальмг","dir":"ltr"},{"lang":"xh","autonym":"isiXhosa","dir":"ltr"},{"lang":"xmf","autonym":"მარგალური","dir":"ltr"},{"lang":"yi","autonym":"ייִדיש","dir":"rtl"},{"lang":"yo","autonym":"Yorùbá","dir":"ltr"},{"lang":"yue","autonym":"粵語","dir":"ltr"},{"lang":"za","autonym":"Vahcuengh","dir":"ltr"},{"lang":"zgh","autonym": "ⵜⴰⵎⴰⵣⵉⵖⵜ ⵜⴰⵏⴰⵡⴰⵢⵜ","dir":"ltr"},{"lang":"zu","autonym":"isiZulu","dir":"ltr"}],"wgSectionTranslationTargetLanguages":["ace","ady","alt","am","ami","an","ang","ann","anp","ar","ary","arz","as","ast","av","avk","awa","ay","az","azb","ba","ban","bar","bbc","bcl","bdr","be","bew","bg","bho","bi","bjn","blk","bm","bn","bo","bpy","br","bs","btm","bug","ca","cdo","ce","ceb","ch","chr","ckb","co","cr","crh","cs","cu","cy","da","dag","de","dga","din","diq","dsb","dtp","dv","dz","ee","el","eml","eo","es","et","eu","fa","fat","ff","fi","fj","fo","fon","fr","frp","frr","fur","fy","gag","gan","gcr","gl","glk","gn","gom","gor","gpe","gu","guc","gur","guw","gv","ha","hak","haw","he","hi","hif","hr","hsb","ht","hu","hy","hyw","ia","iba","ie","ig","igl","ilo","io","is","it","iu","ja","jam","jv","ka","kaa","kab","kbd","kbp","kcg","kg","kge","ki","kk","kl","km","kn","knc","ko","koi","krc","ks","ku","kus","kv","kw","ky","lad","lb","lez","lg","li","lij","lld","lmo","ln", "lo","lt","ltg","lv","mad","mai","map-bms","mdf","mg","mhr","mi","min","mk","ml","mn","mni","mnw","mos","mr","mrj","ms","mt","mwl","my","myv","mzn","nah","nan","nap","nb","nds","nds-nl","ne","new","nia","nl","nn","nqo","nr","nso","ny","oc","om","or","os","pa","pag","pam","pap","pcd","pcm","pdc","pl","pms","pnb","ps","pt","pwn","qu","rm","rn","ro","rsk","rue","rup","rw","sa","sah","sat","sc","scn","sco","sd","se","sg","sgs","sh","shi","shn","si","sk","skr","sl","sm","smn","sn","so","sq","sr","srn","ss","st","stq","su","sv","sw","szl","ta","tay","tcy","tdd","te","tet","tg","th","ti","tig","tk","tl","tly","tn","to","tpi","tr","trv","ts","tt","tum","tw","ty","tyv","udm","ur","uz","ve","vec","vep","vi","vls","vo","vro","wa","war","wo","wuu","xal","xh","xmf","yi","yo","yue","za","zgh","zh","zu"],"isLanguageSearcherCXEntrypointEnabled":true,"mintEntrypointLanguages":["ace","ast","azb","bcl","bjn","bh","crh","ff","fon","ig","is","ki","ks","lmo","min","sat","ss","tn","vec"],"wgWikibaseItemId": "Q155467","wgCheckUserClientHintsHeadersJsApi":["brands","architecture","bitness","fullVersionList","mobile","model","platform","platformVersion"],"GEHomepageSuggestedEditsEnableTopics":true,"wgGETopicsMatchModeEnabled":false,"wgGEStructuredTaskRejectionReasonTextInputEnabled":false,"wgGELevelingUpEnabledForUser":false,"wgMinervaPermissions":{"watchable":true,"watch":false},"wgMinervaFeatures":{"beta":false,"donate":true,"mobileOptionsLink":true,"categories":false,"pageIssues":true,"talkAtTop":true,"historyInPageActions":false,"overflowSubmenu":false,"tabsOnSpecials":true,"personalMenu":false,"mainMenuExpanded":false,"echo":true,"nightMode":true},"wgMinervaDownloadNamespaces":[0]};RLSTATE={"ext.globalCssJs.user.styles":"ready","site.styles":"ready","user.styles":"ready","ext.globalCssJs.user":"ready","user":"ready","user.options":"loading","ext.cite.styles":"ready","ext.tmh.player.styles":"ready","skins.minerva.styles":"ready","skins.minerva.content.styles.images":"ready", "mediawiki.hlist":"ready","skins.minerva.codex.styles":"ready","skins.minerva.icons":"ready","skins.minerva.amc.styles":"ready","ext.wikimediamessages.styles":"ready","mobile.init.styles":"ready","ext.relatedArticles.styles":"ready","wikibase.client.init":"ready","ext.wikimediaBadges":"ready"};RLPAGEMODULES=["ext.cite.ux-enhancements","mediawiki.page.media","ext.tmh.player","site","mediawiki.page.ready","skins.minerva.scripts","ext.centralNotice.geoIP","ext.centralNotice.startUp","ext.gadget.switcher","ext.urlShortener.toolbar","ext.centralauth.centralautologin","ext.popups","mobile.init","ext.echo.centralauth","ext.relatedArticles.readMore.bootstrap","ext.eventLogging","ext.wikimediaEvents","ext.navigationTiming","ext.cx.eventlogging.campaigns","ext.cx.entrypoints.mffrequentlanguages","ext.cx.entrypoints.languagesearcher.init","mw.externalguidance.init","ext.checkUser.clientHints","ext.growthExperiments.SuggestedEditSession"];</script> <script>(RLQ=window.RLQ||[]).push(function(){mw.loader.impl(function(){return["user.options@12s5i",function($,jQuery,require,module){mw.user.tokens.set({"patrolToken":"+\\","watchToken":"+\\","csrfToken":"+\\"}); }];});});</script> <link rel="stylesheet" href="/w/load.php?lang=en&modules=ext.cite.styles%7Cext.relatedArticles.styles%7Cext.tmh.player.styles%7Cext.wikimediaBadges%7Cext.wikimediamessages.styles%7Cmediawiki.hlist%7Cmobile.init.styles%7Cskins.minerva.amc.styles%7Cskins.minerva.codex.styles%7Cskins.minerva.content.styles.images%7Cskins.minerva.icons%2Cstyles%7Cwikibase.client.init&only=styles&skin=minerva"> <script async="" src="/w/load.php?lang=en&modules=startup&only=scripts&raw=1&skin=minerva"></script> <meta name="ResourceLoaderDynamicStyles" content=""> <link rel="stylesheet" href="/w/load.php?lang=en&modules=site.styles&only=styles&skin=minerva"> <meta name="generator" content="MediaWiki 1.44.0-wmf.17"> <meta name="referrer" content="origin"> <meta name="referrer" content="origin-when-cross-origin"> <meta name="robots" content="max-image-preview:standard"> <meta name="format-detection" content="telephone=no"> <meta name="theme-color" content="#eaecf0"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/en/4/4c/TakemitsuToru.jpg"> <meta property="og:image:width" content="1200"> <meta property="og:image:height" content="1699"> <meta property="og:image" content="https://upload.wikimedia.org/wikipedia/en/4/4c/TakemitsuToru.jpg"> <meta property="og:image:width" content="800"> <meta property="og:image:height" content="1133"> <meta property="og:image:width" content="640"> <meta property="og:image:height" content="906"> <meta name="viewport" content="width=device-width, initial-scale=1.0, user-scalable=yes, minimum-scale=0.25, maximum-scale=5.0"> <meta property="og:title" content="Tōru Takemitsu - Wikipedia"> <meta property="og:type" content="website"> <link rel="preconnect" href="//upload.wikimedia.org"> <link rel="manifest" href="/w/api.php?action=webapp-manifest"> <link rel="alternate" type="application/x-wiki" title="Edit this page" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit"> <link rel="apple-touch-icon" href="/static/apple-touch/wikipedia.png"> <link rel="icon" href="/static/favicon/wikipedia.ico"> <link rel="search" type="application/opensearchdescription+xml" href="/w/rest.php/v1/search" title="Wikipedia (en)"> <link rel="EditURI" type="application/rsd+xml" href="//en.wikipedia.org/w/api.php?action=rsd"> <link rel="canonical" href="https://en.wikipedia.org/wiki/T%C5%8Dru_Takemitsu"> <link rel="license" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en"> <link rel="dns-prefetch" href="//meta.wikimedia.org" /> <link rel="dns-prefetch" href="login.wikimedia.org"> </head> <body class="mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject mw-editable page-Tōru_Takemitsu rootpage-Tōru_Takemitsu stable issues-group-B skin-minerva action-view skin--responsive mw-mf-amc-disabled mw-mf"><div id="mw-mf-viewport"> <div id="mw-mf-page-center"> <a class="mw-mf-page-center__mask" href="#"></a> <header class="header-container header-chrome"> <div class="minerva-header"> <nav class="navigation-drawer toggle-list view-border-box"> <input type="checkbox" id="main-menu-input" class="toggle-list__checkbox" role="button" aria-haspopup="true" aria-expanded="false" aria-labelledby="mw-mf-main-menu-button"> <label role="button" for="main-menu-input" id="mw-mf-main-menu-button" aria-hidden="true" data-event-name="ui.mainmenu" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet toggle-list__toggle"> </label> <div id="mw-mf-page-left" class="menu view-border-box"> <ul id="p-navigation" class="toggle-list__list"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--home" href="/wiki/Main_Page" data-mw="interface"> Home </a> </li> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--random" href="/wiki/Special:Random" data-mw="interface"> Random </a> </li> <li class="toggle-list-item skin-minerva-list-item-jsonly"> <a class="toggle-list-item__anchor menu__item--nearby" href="/wiki/Special:Nearby" data-event-name="menu.nearby" data-mw="interface"> Nearby </a> </li> </ul> <ul id="p-personal" class="toggle-list__list"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor mw-list-item menu__item--login" href="/w/index.php?title=Special:UserLogin&returnto=T%C5%8Dru+Takemitsu" data-event-name="menu.login" data-mw="interface"> Log in </a> </li> </ul> <ul id="pt-preferences" class="toggle-list__list"> <li class="toggle-list-item skin-minerva-list-item-jsonly"> <a class="toggle-list-item__anchor menu__item--settings" href="/w/index.php?title=Special:MobileOptions&returnto=T%C5%8Dru+Takemitsu" data-event-name="menu.settings" data-mw="interface"> Settings </a> </li> </ul> <ul id="p-donation" class="toggle-list__list"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--donate" href="https://donate.wikimedia.org/?wmf_source=donate&wmf_medium=sidebar&wmf_campaign=en.wikipedia.org&uselang=en&wmf_key=minerva" data-event-name="menu.donate" data-mw="interface"> Donate </a> </li> </ul> <ul class="hlist"> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--about" href="/wiki/Wikipedia:About" data-mw="interface"> About Wikipedia </a> </li> <li class="toggle-list-item "> <a class="toggle-list-item__anchor menu__item--disclaimers" href="/wiki/Wikipedia:General_disclaimer" data-mw="interface"> Disclaimers </a> </li> </ul> </div> <label class="main-menu-mask" for="main-menu-input"></label> </nav> <div class="branding-box"> <a href="/wiki/Main_Page"> <img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; height: 1.125em;"/> </a> </div> <form action="/w/index.php" method="get" class="minerva-search-form"> <div class="search-box"> <input type="hidden" name="title" value="Special:Search"/> <input class="search skin-minerva-search-trigger" id="searchInput" type="search" name="search" placeholder="Search Wikipedia" aria-label="Search Wikipedia" autocapitalize="sentences" title="Search Wikipedia [f]" accesskey="f"> </div> <button id="searchIcon" class="cdx-button cdx-button--size-large cdx-button--icon-only cdx-button--weight-quiet skin-minerva-search-trigger"> Search </button> </form> <nav class="minerva-user-navigation" aria-label="User navigation"> </nav> </div> </header> <main id="content" class="mw-body"> <div class="banner-container"> <div id="siteNotice"></div> </div> <div class="pre-content heading-holder"> <div class="page-heading"> <h1 id="firstHeading" class="firstHeading mw-first-heading">Tōru Takemitsu</h1> <div class="tagline"></div> </div> <ul id="p-associated-pages" class="minerva__tab-container"> <li class="minerva__tab selected mw-list-item"> <a class="minerva__tab-text" href="/wiki/T%C5%8Dru_Takemitsu" rel="" data-event-name="tabs.main">Article</a> </li> <li class="minerva__tab mw-list-item"> <a class="minerva__tab-text" href="/wiki/Talk:T%C5%8Dru_Takemitsu" rel="discussion" data-event-name="tabs.talk">Talk</a> </li> </ul> <nav class="page-actions-menu"> <ul id="p-views" class="page-actions-menu__list"> <li id="language-selector" class="page-actions-menu__list-item"> <a role="button" href="#p-lang" data-mw="interface" data-event-name="menu.languages" title="Language" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet language-selector"> Language </a> </li> <li id="page-actions-watch" class="page-actions-menu__list-item"> <a role="button" id="ca-watch" href="/w/index.php?title=Special:UserLogin&returnto=T%C5%8Dru+Takemitsu" data-event-name="menu.watch" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet menu__item--page-actions-watch"> Watch </a> </li> <li id="page-actions-edit" class="page-actions-menu__list-item"> <a role="button" id="ca-edit" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit" data-event-name="menu.edit" data-mw="interface" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet edit-page menu__item--page-actions-edit"> Edit </a> </li> </ul> </nav>  <div id="mw-content-subtitle"></div> </div> <div id="bodyContent" class="content"> <div id="mw-content-text" class="mw-body-content"><script>function mfTempOpenSection(id){var block=document.getElementById("mf-section-"+id);block.className+=" open-block";block.previousSibling.className+=" open-block";}</script><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><section class="mf-section-0" id="mf-section-0"> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style>Tōru Takemitsu (武満徹, <style data-mw-deduplicate="TemplateStyles:r1177148991">.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}</style>pronounced <a href="/wiki/Help:IPA/Japanese" title="Help:IPA/Japanese">[takeꜜmitsɯ̥ toːɾɯ]</a>; 8 October 1930 – 20 February 1996) was a Japanese <a href="/wiki/Composer" title="Composer">composer</a> and writer on <a href="/wiki/Aesthetics" title="Aesthetics">aesthetics</a> and <a href="/wiki/Music_theory" title="Music theory">music theory</a>. Largely self-taught, Takemitsu was admired for the subtle manipulation of instrumental and orchestral <a href="/wiki/Timbre" title="Timbre">timbre</a>.<a href="#cite_note-1">[1]</a><a href="#cite_note-grove-2">[2]</a> He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation.<a href="#cite_note-allmusic.com-3">[3]</a> <table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Tōru Takemitsu</div></th></tr><tr><td colspan="2" class="infobox-subheader" style="font-size:125%;"><style data-mw-deduplicate="TemplateStyles:r886047488">.mw-parser-output .nobold{font-weight:normal}</style>武満徹</td></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:TakemitsuToru.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/4/4c/TakemitsuToru.jpg/220px-TakemitsuToru.jpg" decoding="async" width="220" height="312" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/4/4c/TakemitsuToru.jpg 1.5x" data-file-width="250" data-file-height="354"></a></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data">8 October 1930 <div style="display:inline" class="birthplace"><a href="/wiki/Hong%C5%8D,_Tokyo" title="Hongō, Tokyo">Hongō, Tokyo</a>, Japan</div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">20 February 1996(1996-02-20) (aged 65) <div style="display:inline" class="deathplace"><a href="/wiki/Minato,_Tokyo" title="Minato, Tokyo">Minato, Tokyo</a>, Japan</div></td></tr><tr><th scope="row" class="infobox-label">Occupations</th><td class="infobox-data role"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist dd:last-child::after,.mw-parser-output .hlist dt:last-child::after,.mw-parser-output .hlist li:last-child::after{content:none}.mw-parser-output .hlist dd dd:first-child::before,.mw-parser-output .hlist dd dt:first-child::before,.mw-parser-output .hlist dd li:first-child::before,.mw-parser-output .hlist dt dd:first-child::before,.mw-parser-output .hlist dt dt:first-child::before,.mw-parser-output .hlist dt li:first-child::before,.mw-parser-output .hlist li dd:first-child::before,.mw-parser-output .hlist li dt:first-child::before,.mw-parser-output .hlist li li:first-child::before{content:" (";font-weight:normal}.mw-parser-output .hlist dd dd:last-child::after,.mw-parser-output .hlist dd dt:last-child::after,.mw-parser-output .hlist dd li:last-child::after,.mw-parser-output .hlist dt dd:last-child::after,.mw-parser-output .hlist dt dt:last-child::after,.mw-parser-output .hlist dt li:last-child::after,.mw-parser-output .hlist li dd:last-child::after,.mw-parser-output .hlist li dt:last-child::after,.mw-parser-output .hlist li li:last-child::after{content:")";font-weight:normal}.mw-parser-output .hlist ol{counter-reset:listitem}.mw-parser-output .hlist ol>li{counter-increment:listitem}.mw-parser-output .hlist ol>li::before{content:" "counter(listitem)"\a0 "}.mw-parser-output .hlist dd ol>li:first-child::before,.mw-parser-output .hlist dt ol>li:first-child::before,.mw-parser-output .hlist li ol>li:first-child::before{content:" ("counter(listitem)"\a0 "}</style><div class="hlist"><ul><li>Composer</li><li>Writer</li></ul></div></td></tr></tbody></table> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">In this <a href="/wiki/Japanese_name" title="Japanese name">Japanese name</a>, the <a href="/wiki/Surname" title="Surname">surname</a> is Takemitsu.</div> He composed several hundred independent works of music, scored more than ninety films and published twenty books.<a href="#cite_note-allmusic.com-3">[3]</a> He was also a founding member of the <a href="/wiki/Jikken_K%C5%8Db%C5%8D" title="Jikken Kōbō">Jikken Kōbō</a> (Experimental Workshop) in Japan, a group of avant-garde artists who distanced themselves from <a href="/wiki/Academia" class="mw-redirect" title="Academia">academia</a> and whose collaborative work is often regarded among the most influential of the 20th century.<a href="#cite_note-4">[4]</a><a href="#cite_note-5">[5]</a> His 1957 Requiem for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as the leading 20th-century Japanese composer.<a href="#cite_note-6">[6]</a> He was the recipient of <a href="#Awards_and_honours">numerous awards and honours</a> and the <a href="/wiki/Toru_Takemitsu_Composition_Award" title="Toru Takemitsu Composition Award">Toru Takemitsu Composition Award</a> is named after him.<a href="#cite_note-p-ttca-7">[7]</a> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><label class="toctogglelabel" for="toctogglecheckbox"></label></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Biography">1 Biography</a> <ul> <li class="toclevel-2 tocsection-2"><a href="#Youth">1.1 Youth</a></li> <li class="toclevel-2 tocsection-3"><a href="#Early_development_and_Jikken_K%C5%8Db%C5%8D">1.2 Early development and Jikken Kōbō</a></li> <li class="toclevel-2 tocsection-4"><a href="#Influence_of_Cage;_interest_in_traditional_Japanese_music">1.3 Influence of Cage; interest in traditional Japanese music</a></li> <li class="toclevel-2 tocsection-5"><a href="#International_status_and_the_gradual_shift_in_style">1.4 International status and the gradual shift in style</a></li> <li class="toclevel-2 tocsection-6"><a href="#Later_works:_the_sea_of_tonality">1.5 Later works: the sea of tonality</a></li> </ul> </li> <li class="toclevel-1 tocsection-7"><a href="#Personal_life">2 Personal life</a></li> <li class="toclevel-1 tocsection-8"><a href="#Music">3 Music</a> <ul> <li class="toclevel-2 tocsection-9"><a href="#Influence_of_traditional_Japanese_music">3.1 Influence of traditional Japanese music</a></li> <li class="toclevel-2 tocsection-10"><a href="#Influence_of_Messiaen">3.2 Influence of Messiaen</a></li> <li class="toclevel-2 tocsection-11"><a href="#Influence_of_Debussy">3.3 Influence of Debussy</a></li> <li class="toclevel-2 tocsection-12"><a href="#Motives">3.4 Motives</a></li> <li class="toclevel-2 tocsection-13"><a href="#Musique_concr%C3%A8te">3.5 Musique concrète</a></li> <li class="toclevel-2 tocsection-14"><a href="#Aleatory_techniques">3.6 Aleatory techniques</a></li> <li class="toclevel-2 tocsection-15"><a href="#Film_music">3.7 Film music</a></li> </ul> </li> <li class="toclevel-1 tocsection-16"><a href="#Legacy">4 Legacy</a></li> <li class="toclevel-1 tocsection-17"><a href="#Awards_and_honours">5 Awards and honours</a></li> <li class="toclevel-1 tocsection-18"><a href="#Writings">6 Writings</a></li> <li class="toclevel-1 tocsection-19"><a href="#References">7 References</a> <ul> <li class="toclevel-2 tocsection-20"><a href="#Citations">7.1 Citations</a></li> <li class="toclevel-2 tocsection-21"><a href="#Sources">7.2 Sources</a></li> </ul> </li> <li class="toclevel-1 tocsection-22"><a href="#Further_reading">8 Further reading</a></li> <li class="toclevel-1 tocsection-23"><a href="#External_links">9 External links</a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><h2 id="Biography">Biography</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=1" title="Edit section: Biography" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <div class="mw-heading mw-heading3"><h3 id="Youth">Youth</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=2" title="Edit section: Youth" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Takemitsu was born in <a href="/wiki/Tokyo" title="Tokyo">Tokyo</a> on 8 October 1930; a month later his family moved to <a href="/wiki/Dalian" title="Dalian">Dalian</a> in the Chinese province of <a href="/wiki/Liaoning" title="Liaoning">Liaoning</a>. In 1938 he returned to Japan to attend elementary school, but his education was cut short by military conscription in 1944.<a href="#cite_note-grove-2">[2]</a> Takemitsu described his experience of military service at such a young age, under the Japanese Nationalist government, as "... extremely bitter".<a href="#cite_note-perspnewmusic-8">[8]</a> Takemitsu first became conscious of <a href="/wiki/Classical_music" title="Classical music">Western classical music</a> during his term of military service, in the form of a popular French Song ("<a href="/wiki/Parlez-moi_d%27amour_(song)" title="Parlez-moi d'amour (song)">Parlez-moi d'amour</a>") which he listened to with colleagues in secret, played on a gramophone with a makeshift needle fashioned from bamboo.<a href="#cite_note-perspnewmusic-8">[8]</a><a href="#cite_note-9">[9]</a> During the post-war U.S. occupation of Japan, Takemitsu worked for the U.S. Armed Forces, but was ill for a long period. Hospitalised and bed-ridden, he took the opportunity to listen to as much Western music as he could on the U.S. Armed Forces network. While deeply affected by these experiences of Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained much later, in a lecture at the New York International Festival of the Arts, that for him Japanese traditional music "always recalled the bitter memories of war".<a href="#cite_note-perspnewmusic-8">[8]</a> Despite his lack of musical training, and taking inspiration from what little Western music he had heard, Takemitsu began to compose in earnest at the age of 16: "... I began [writing] music attracted to music itself as one human being. Being in music I found my raison d'être as a man. After the war, music was the only thing. Choosing to be in music clarified my identity."<a href="#cite_note-10">[10]</a> Though he studied briefly with <a href="/wiki/Yasuji_Kiyose" title="Yasuji Kiyose">Yasuji Kiyose</a> beginning in 1948, Takemitsu remained largely self-taught throughout his musical career.<a href="#cite_note-grove-2">[2]</a> <div class="mw-heading mw-heading3"><h3 id="Early_development_and_Jikken_Kōbō">Early development and Jikken Kōbō</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=3" title="Edit section: Early development and Jikken Kōbō" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In 1948, Takemitsu conceived the idea of <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> <a href="/wiki/Music_technology" title="Music technology">technology</a>, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] <a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Pierre Schaeffer</a> invented the method(s) of <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a> based on the same idea as mine. I was pleased with this coincidence."<a href="#cite_note-11">[11]</a><a href="#cite_note-12">[12]</a> In 1951, Takemitsu was a founding member of the anti-academic <a href="/wiki/Jikken_K%C5%8Db%C5%8D" title="Jikken Kōbō">Jikken Kōbō</a> (実験工房, "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition.<a href="#cite_note-burtreviewcam-13">[13]</a> The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences.<a href="#cite_note-grove-2">[2]</a><a href="#cite_note-14">[14]</a> During this period he wrote Saegirarenai Kyūsoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic <a href="/wiki/Tape_recorder" title="Tape recorder">tape-recording</a> techniques in such works as Relief Statique (1955) and Vocalism A·I (1956).<a href="#cite_note-grove-2">[2]</a> Takemitsu also studied in the early 1950s with the composer <a href="/wiki/Fumio_Hayasaka" title="Fumio Hayasaka">Fumio Hayasaka</a>, perhaps best known for the scores he wrote for films by <a href="/wiki/Kenji_Mizoguchi" title="Kenji Mizoguchi">Kenji Mizoguchi</a> and <a href="/wiki/Akira_Kurosawa" title="Akira Kurosawa">Akira Kurosawa</a>, the latter of whom Takemitsu would collaborate with decades later. In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957), written as an homage to Hayasaka, was heard by <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a> in 1958 during his visit to Japan. (The <a href="/wiki/NHK" title="NHK">NHK</a> had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing.<a href="#cite_note-15">[15]</a> Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience.<a href="#cite_note-afterword-16">[16]</a> After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the <a href="/wiki/Koussevitsky_Foundation" class="mw-redirect" title="Koussevitsky Foundation">Koussevitsky Foundation</a> which, he assumed, had come as a suggestion from Stravinsky to <a href="/wiki/Aaron_Copland" title="Aaron Copland">Aaron Copland</a>.<a href="#cite_note-afterword-16">[16]</a> For this he composed Dorian Horizon, (1966), which was premièred by the <a href="/wiki/San_Francisco_Symphony" title="San Francisco Symphony">San Francisco Symphony</a>, conducted by Copland.<a href="#cite_note-afterword-16">[16]</a> <div class="mw-heading mw-heading3"><h3 id="Influence_of_Cage;_interest_in_traditional_Japanese_music">Influence of Cage; interest in traditional Japanese music</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=4" title="Edit section: Influence of Cage; interest in traditional Japanese music" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of <a href="/wiki/John_Cage" title="John Cage">John Cage</a>; but when the composer <a href="/wiki/Toshi_Ichiyanagi" title="Toshi Ichiyanagi">Toshi Ichiyanagi</a> returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later.<a href="#cite_note-17">[17]</a> This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), <a href="/wiki/Corona_(Takemitsu)" title="Corona (Takemitsu)">Corona for pianist(s)</a> and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".<a href="#cite_note-18">[18]</a> Although the immediate influence of Cage's procedures did not last in Takemitsu's music—Coral Island, for example for soprano and orchestra (1962) shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of <a href="/wiki/Anton_Webern" title="Anton Webern">Anton Webern</a>—certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma.<a href="#cite_note-19">[19]</a> Furthermore, Cage's interest in Zen practice (through his contact with Zen scholar <a href="/wiki/Daisetz_Teitaro_Suzuki" class="mw-redirect" title="Daisetz Teitaro Suzuki">Daisetz Teitaro Suzuki</a>) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition: <blockquote> I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.<a href="#cite_note-perspnewmusic-8">[8]</a> </blockquote> For Takemitsu, as he explained later in a lecture in 1988, one performance of Japanese traditional music stood out: <blockquote> One day I chanced to see a performance of the <a href="/wiki/Bunraku" title="Bunraku">Bunraku</a> puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao <a href="/wiki/Shamisen" title="Shamisen">shamisen</a>, the wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music. I was very moved by it and I wondered why my attention had never been captured before by this Japanese music.<a href="#cite_note-perspnewmusic-8">[8]</a> </blockquote> Thereafter, he resolved to study all types of traditional Japanese music, paying special attention to the differences between the two very different musical traditions, in a diligent attempt to "bring forth the sensibilities of Japanese music that had always been within [him]".<a href="#cite_note-perspnewmusic-8">[8]</a> This was no easy task, since in the years following the war traditional music was largely overlooked and ignored: only one or two "masters" continued to keep their art alive, often meeting with public indifference. In conservatoria across the country, even students of traditional instruments were always required to learn the piano.<a href="#cite_note-20">[20]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Toru_Takemitsu_Shinchosha_1961-7.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Toru_Takemitsu_Shinchosha_1961-7.jpg/220px-Toru_Takemitsu_Shinchosha_1961-7.jpg" decoding="async" width="220" height="301" class="mw-file-element" data-file-width="1123" data-file-height="1537"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 301px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Toru_Takemitsu_Shinchosha_1961-7.jpg/220px-Toru_Takemitsu_Shinchosha_1961-7.jpg" data-width="220" data-height="301" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Toru_Takemitsu_Shinchosha_1961-7.jpg/330px-Toru_Takemitsu_Shinchosha_1961-7.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b7/Toru_Takemitsu_Shinchosha_1961-7.jpg/440px-Toru_Takemitsu_Shinchosha_1961-7.jpg 2x" data-class="mw-file-element"> </a><figcaption>Takemitsu, 1961</figcaption></figure> From the early 1960s, Takemitsu began to make use of <a href="/wiki/Traditional_Japanese_musical_instruments" title="Traditional Japanese musical instruments">traditional Japanese instruments</a> in his music, and even took up playing the <a href="/wiki/Biwa" title="Biwa">biwa</a>—an instrument he used in his score for the film <a href="/wiki/Harakiri_(1962_film)" title="Harakiri (1962 film)">Seppuku</a> (1962).<a href="#cite_note-grove-2">[2]</a> In 1967, Takemitsu received a commission from the <a href="/wiki/New_York_Philharmonic" title="New York Philharmonic">New York Philharmonic</a>, to commemorate the orchestra's 125th anniversary, for which he wrote <a href="/wiki/November_Steps" title="November Steps">November Steps</a> for biwa, <a href="/wiki/Shakuhachi" title="Shakuhachi">shakuhachi</a>, and orchestra. Initially, Takemitsu had great difficulty in uniting these instruments from such different musical cultures in one work.<a href="#cite_note-perspnewmusic-8">[8]</a> <a href="/wiki/Eclipse_(Takemitsu)" title="Eclipse (Takemitsu)">Eclipse</a> for biwa and shakuhachi (1966) illustrates Takemitsu's attempts to find a viable notational system for these instruments, which in normal circumstances neither sound together nor are used in works notated in any system of <a href="/wiki/Staff_(music)" title="Staff (music)">Western staff notation</a>.<a href="#cite_note-Burt-21">[21]</a> The first performance of November Steps was given in 1967, under <a href="/wiki/Seiji_Ozawa" title="Seiji Ozawa">Seiji Ozawa</a>. Despite the trials of writing such an ambitious work, Takemitsu maintained "that making the attempt was very worthwhile because what resulted somehow liberated music from a certain stagnation and brought to music something distinctly new and different".<a href="#cite_note-perspnewmusic-8">[8]</a> The work was distributed widely in the West when it was coupled as the fourth side of an LP release of <a href="/wiki/Messiaen" class="mw-redirect" title="Messiaen">Messiaen</a>'s <a href="/wiki/Turangal%C3%AEla_Symphony" class="mw-redirect" title="Turangalîla Symphony">Turangalîla Symphony</a>.<a href="#cite_note-22">[22]</a> In 1972, Takemitsu, accompanied by <a href="/wiki/Iannis_Xenakis" title="Iannis Xenakis">Iannis Xenakis</a>, <a href="/wiki/Betsy_Jolas" title="Betsy Jolas">Betsy Jolas</a>, and others, heard <a href="/wiki/Bali" title="Bali">Balinese</a> <a href="/wiki/Gamelan" title="Gamelan">gamelan</a> music in Bali. The experience influenced the composer on a largely philosophical and theological level. For those accompanying Takemitsu on the expedition (most of whom were French musicians), who "... could not keep their composure as I did before this music: it was too foreign for them to be able to assess the resulting discrepancies with their logic", the experience was without precedent. For Takemitsu, however, by now quite familiar with his own native musical tradition, there was a relationship between "the sounds of the gamelan, the tone of the kapachi, the unique scales and rhythms by which they are formed, and Japanese traditional music which had shaped such a large part of my sensitivity".<a href="#cite_note-23">[23]</a> In his solo piano work For Away (written for <a href="/wiki/Roger_Woodward" title="Roger Woodward">Roger Woodward</a> in 1973), a single, complex line is distributed between the pianist's hands, which reflects the interlocking patterns between the <a href="/wiki/Metallophone" title="Metallophone">metallophones</a> of a gamelan orchestra.<a href="#cite_note-24">[24]</a> A year later, Takemitsu returned to the instrumental combination of shakuhachi, biwa, and orchestra, in the less well known work Autumn (1973). The significance of this work is revealed in its far greater integration of the traditional Japanese instruments into the orchestral discourse; whereas in November Steps, the two contrasting instrumental ensembles perform largely in alternation, with only a few moments of contact. Takemitsu expressed this change in attitude: <blockquote> But now my attitude is getting to be a little different, I think. Now my concern is mostly to find out what there is in common ... Autumn was written after November Steps. I really wanted to do something which I hadn't done in November Steps, not to blend the instruments, but to integrate them.<a href="#cite_note-25">[25]</a> </blockquote> <div class="mw-heading mw-heading3"><h3 id="International_status_and_the_gradual_shift_in_style">International status and the gradual shift in style</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=5" title="Edit section: International status and the gradual shift in style" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> By 1970, Takemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with <a href="/wiki/Expo_%2770" title="Expo '70">Expo '70</a> in <a href="/wiki/Osaka" title="Osaka">Osaka</a>, he was at last able to meet more of his Western colleagues, including <a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Karlheinz Stockhausen</a>. Also, during a contemporary music festival in April 1970, produced by the Japanese composer himself ("Iron and Steel Pavilion"), Takemitsu met among the participants <a href="/wiki/Lukas_Foss" title="Lukas Foss">Lukas Foss</a>, <a href="/wiki/Peter_Sculthorpe" title="Peter Sculthorpe">Peter Sculthorpe</a>, and <a href="/wiki/Vinko_Globokar" title="Vinko Globokar">Vinko Globokar</a>. Later that year, as part of a commission from <a href="/wiki/Paul_Sacher" title="Paul Sacher">Paul Sacher</a> and the Zurich <a href="/wiki/Collegium_Musicum" title="Collegium Musicum">Collegium Musicum</a>, Takemitsu incorporated into his Eucalypts I parts for international performers: flautist <a href="/wiki/Aur%C3%A8le_Nicolet" title="Aurèle Nicolet">Aurèle Nicolet</a>, oboist <a href="/wiki/Heinz_Holliger" title="Heinz Holliger">Heinz Holliger</a>, and harpist <a href="/wiki/Ursula_Holliger" title="Ursula Holliger">Ursula Holliger</a>.<a href="#cite_note-26">[26]</a> Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as <a href="/wiki/Voice_(Takemitsu)" title="Voice (Takemitsu)">Voice</a> for solo flute (1971), Waves for clarinet, horn, two trombones and bass drum (1976), Quatrain for clarinet, violin, cello, piano and orchestra (1977). Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and an increased interest in the traditional Japanese garden began to reflect itself in works such as <a href="/w/index.php?title=In_an_Autumn_Garden&action=edit&redlink=1" class="new" title="In an Autumn Garden (page does not exist)">In an Autumn Garden</a> [<a href="https://ja.wikipedia.org/wiki/%E7%A7%8B%E5%BA%AD%E6%AD%8C" class="extiw" title="ja:秋庭歌">ja</a>] for gagaku orchestra (1973), and A Flock Descends into the Pentagonal Garden for orchestra (1977).<a href="#cite_note-27">[27]</a> Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes. Comparison of Green (for orchestra, 1967) and A Flock Descends into the Pentagonal Garden (1977) quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale (the so-called "black-key pentatonic") around a central sustained central pitch (F-sharp), and an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the 1970s.<a href="#cite_note-28">[28]</a> The former, Green (or November Steps II) written 10 years earlier, is heavily influenced by Debussy,<a href="#cite_note-29">[29]</a><a href="#cite_note-30">[30]</a> and is, in spite of its very dissonant language (including momentary quarter-tone clusters), largely constructed through a complex web of modal forms. These modal forms are largely audible, particularly in the momentary repose toward the end of the work.<a href="#cite_note-31">[31]</a> Thus in these works, it is possible to see both a continuity of approach, and the emergence of a simpler harmonic language that was to characterise the work of his later period. His friend and colleague Jō Kondō said, "If his later works sound different from earlier pieces, it is due to his gradual refining of his basic style rather than any real alteration of it."<a href="#cite_note-kondo-32">[32]</a> <div class="mw-heading mw-heading3"><h3 id="Later_works:_the_sea_of_tonality">Later works: the sea of tonality</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=6" title="Edit section: Later works: the sea of tonality" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In a Tokyo lecture given in 1984, Takemitsu identified a melodic <a href="/wiki/Motif_(music)" title="Motif (music)">motive</a> in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works: <blockquote> I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.<a href="#cite_note-33">[33]</a> </blockquote> Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality".<a href="#cite_note-34">[34]</a> Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality."<a href="#cite_note-35">[35]</a> Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period. His 1981 work for orchestra named Dreamtime was inspired by a visit to <a href="/wiki/Groote_Eylandt" title="Groote Eylandt">Groote Eylandt</a>, off the coast of the <a href="/wiki/Northern_Territory" title="Northern Territory">Northern Territory</a> of <a href="/wiki/Australia" title="Australia">Australia</a>, to witness a large gathering of <a href="/wiki/Indigenous_Australians" title="Indigenous Australians">Australian indigenous</a> dancers, singers and story tellers. He was there at the invitation of the choreographer <a href="/wiki/Ji%C5%99%C3%AD_Kyli%C3%A1n" title="Jiří Kylián">Jiří Kylián</a>.<a href="#cite_note-36">[36]</a> <a href="/wiki/Pedal_notes" class="mw-redirect" title="Pedal notes">Pedal notes</a> played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which <a href="/wiki/Musical_quotation" title="Musical quotation">quotes</a> from <a href="/wiki/Johann_Sebastian_Bach" title="Johann Sebastian Bach">J. S. Bach's</a> <a href="/wiki/St_Matthew_Passion" title="St Matthew Passion">St Matthew Passion</a>, and Family Tree for narrator and orchestra (1984), which invokes the musical language of <a href="/wiki/Maurice_Ravel" title="Maurice Ravel">Maurice Ravel</a> and American popular song.<a href="#cite_note-grove-2">[2]</a> (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".<a href="#cite_note-37">[37]</a>) By this time, Takemitsu's incorporation of traditional Japanese (and other Eastern) musical traditions with his Western style had become much more integrated. Takemitsu commented, "There is no doubt ... the various countries and cultures of the world have begun a journey toward the geographic and historic unity of all peoples ... The old and new exist within me with equal weight."<a href="#cite_note-38">[38]</a> Toward the end of his life, Takemitsu had planned to complete an opera, a collaboration with the novelist <a href="/wiki/Barry_Gifford" title="Barry Gifford">Barry Gifford</a> and the director <a href="/wiki/Daniel_Schmid" title="Daniel Schmid">Daniel Schmid</a>, commissioned by the <a href="/wiki/Op%C3%A9ra_National_de_Lyon" title="Opéra National de Lyon">Opéra National de Lyon</a> in France. He was in the process of publishing a plan of its musical and dramatic structure with <a href="/wiki/Kenzabur%C5%8D_%C5%8Ce" title="Kenzaburō Ōe">Kenzaburō Ōe</a>, but he was prevented from completing it by his death at 65.<a href="#cite_note-39">[39]</a><a href="#cite_note-40">[40]</a> He died of <a href="/wiki/Pneumonia" title="Pneumonia">pneumonia</a> on 20 February 1996, while undergoing treatment for <a href="/wiki/Bladder_cancer" title="Bladder cancer">bladder cancer</a>. </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><h2 id="Personal_life">Personal life</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=7" title="Edit section: Personal life" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> He was married to Asaka Takemitsu (formerly Wakayama) for 42 years. She first met Toru in 1951, cared for him when he was suffering from <a href="/wiki/Tuberculosis" title="Tuberculosis">tuberculosis</a> in his early twenties, then married him in 1954. They had one child, a daughter named Maki. Asaka attended most premieres of his music and published a memoir of their life together in 2010.<a href="#cite_note-41">[41]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><h2 id="Music">Music</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=8" title="Edit section: Music" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/List_of_compositions_by_T%C5%8Dru_Takemitsu" title="List of compositions by Tōru Takemitsu">List of compositions by Tōru Takemitsu</a></div> Composers whom Takemitsu cited as influential in his early work include <a href="/wiki/Claude_Debussy" title="Claude Debussy">Claude Debussy</a>, <a href="/wiki/Anton_Webern" title="Anton Webern">Anton Webern</a>, <a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Edgard Varèse</a>, <a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a>, and <a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a>.<a href="#cite_note-42">[42]</a> Messiaen in particular was introduced to him by fellow composer <a href="/wiki/Toshi_Ichiyanagi" title="Toshi Ichiyanagi">Toshi Ichiyanagi</a>, and remained a lifelong influence.<a href="#cite_note-grove-2">[2]</a> Although Takemitsu's wartime experiences of nationalism initially discouraged him from cultivating an interest in <a href="/wiki/Traditional_Japanese_music" title="Traditional Japanese music">traditional Japanese music</a>, he showed an early interest in "... the Japanese Garden in color spacing and form ...". The formal garden of the kaiyu-shiki interested him in particular.<a href="#cite_note-perspnewmusic-8">[8]</a><a href="#cite_note-43">[43]</a> He expressed his unusual stance toward compositional theory early on, his lack of respect for the "trite rules of music, rules that are ... stifled by formulas and calculations"; for Takemitsu it was of far greater importance that "sounds have the freedom to breathe. ... Just as one cannot plan his life, neither can he plan music".<a href="#cite_note-44">[44]</a> Takemitsu's sensitivity to instrumental and orchestral timbre can be heard throughout his work, and is often made apparent by the unusual instrumental combinations he specified. This is evident in works such as <a href="/wiki/November_Steps" title="November Steps">November Steps</a>, that combine traditional Japanese instruments, <a href="/wiki/Shakuhachi" title="Shakuhachi">shakuhachi</a> and <a href="/wiki/Biwa" title="Biwa">biwa</a>, with a conventional Western orchestra. It may also be discerned in his works for ensembles that make no use of traditional instruments, for example Quotation of Dream (1991), Archipelago S., for 21 players (1993), and Arc I & II (1963–66/1976). In these works, the more conventional orchestral forces are divided into unconventional "groups". Even where these instrumental combinations were determined by the particular ensemble commissioning the work, "Takemitsu's genius for instrumentation (and genius it was, in my view) ...", in the words of <a href="/wiki/Oliver_Knussen" title="Oliver Knussen">Oliver Knussen</a>, "... creates the illusion that the instrumental restrictions are self-imposed".<a href="#cite_note-45">[45]</a> <div class="mw-heading mw-heading3"><h3 id="Influence_of_traditional_Japanese_music">Influence of traditional Japanese music</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=9" title="Edit section: Influence of traditional Japanese music" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Takemitsu_pitch_bend.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/en/thumb/5/5f/Takemitsu_pitch_bend.jpg/220px-Takemitsu_pitch_bend.jpg" decoding="async" width="220" height="174" class="mw-file-element" data-file-width="355" data-file-height="280"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 174px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/5/5f/Takemitsu_pitch_bend.jpg/220px-Takemitsu_pitch_bend.jpg" data-width="220" data-height="174" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/5/5f/Takemitsu_pitch_bend.jpg/330px-Takemitsu_pitch_bend.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/5/5f/Takemitsu_pitch_bend.jpg 2x" data-class="mw-file-element"> </a><figcaption>Example 1. Bar 10 of Masque I, Continu, for two flutes (1959). An early example of Takemitsu's incorporation of traditional Japanese music in his writing, shown in the unusually notated quarter-tone pitch bend above.</figcaption></figure> Takemitsu summarized his initial aversion to Japanese (and all non-Western) traditional musical forms in his own words: "There may be folk music with strength and beauty, but I cannot be completely honest in this kind of music. I want a more active relationship to the present. (Folk music in a 'contemporary style' is nothing but a deception)."<a href="#cite_note-46">[46]</a> His dislike for the musical traditions of Japan in particular were intensified by his experiences of the war, during which Japanese music became associated with militaristic and nationalistic cultural ideals.<a href="#cite_note-47">[47]</a> Nevertheless, Takemitsu incorporated some idiomatic elements of Japanese music in his very earliest works, perhaps unconsciously. One unpublished set of pieces, Kakehi ("Conduit"), written at the age of seventeen, incorporates the <a href="/wiki/Ritsu_and_ryo_scales" title="Ritsu and ryo scales">ryō, ritsu</a> and <a href="/wiki/Insen_scale" title="Insen scale">insen</a> scales throughout. When Takemitsu discovered that these "nationalist" elements had somehow found their way into his music, he was so alarmed that he later destroyed the works.<a href="#cite_note-48">[48]</a> Further examples can be seen for example in the quarter-tone glissandi of Masques I (for two flutes, 1959), which mirror the characteristic pitch bends of the shakuhachi, and for which he devised his own unique notation: a held note is tied to an <a href="/wiki/Enharmonic" class="mw-redirect" title="Enharmonic">enharmonic</a> spelling of the same pitch class, with a <a href="/wiki/Portamento" title="Portamento">portamento</a> direction across the tie.<a href="#cite_note-49">[49]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Takemitsu_litany_diagram.png" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/en/thumb/1/17/Takemitsu_litany_diagram.png/290px-Takemitsu_litany_diagram.png" decoding="async" width="290" height="177" class="mw-file-element" data-file-width="402" data-file-height="245"></noscript><span class="lazy-image-placeholder" style="width: 290px;height: 177px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/1/17/Takemitsu_litany_diagram.png/290px-Takemitsu_litany_diagram.png" data-width="290" data-height="177" data-srcset="//upload.wikimedia.org/wikipedia/en/1/17/Takemitsu_litany_diagram.png 1.5x" data-class="mw-file-element"> </a><figcaption>Example 2. Opening bars of Litany—In Memory of Michael Vyner, i Adagio, for solo piano (1950/1989). Another early example of Takemitsu's incorporation of traditional Japanese music in his writing, shown here in the use of the Japanese in scale in the upper melodic line of the right hand part.<audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="25" data-mwtitle="Takemitsu_litany_excerpt.ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/3/34/Takemitsu_litany_excerpt.ogg" type='audio/ogg; codecs="vorbis"' data-width="0" data-height="0"></source><source src="//upload.wikimedia.org/wikipedia/en/transcoded/3/34/Takemitsu_litany_excerpt.ogg/Takemitsu_litany_excerpt.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0"></source></audio></figcaption></figure> Other Japanese characteristics, including the further use of traditional <a href="/wiki/Pentatonic_scale" title="Pentatonic scale">pentatonic scales</a>, continued to crop up elsewhere in his early works. In the opening bars of Litany, for <a href="/wiki/Michael_Vyner" title="Michael Vyner">Michael Vyner</a>, a reconstruction from memory by Takemitsu of Lento in Due Movimenti (1950; the original score was lost), pentatonicism is clearly visible in the upper voice, which opens the work on an unaccompanied <a href="/wiki/Anacrusis" title="Anacrusis">anacrusis</a>.<a href="#cite_note-50">[50]</a> The pitches of the opening melody combine to form the constituent notes of the ascending form of the Japanese in scale. When, from the early 1960s,<a href="#cite_note-grove-2">[2]</a> Takemitsu began to "consciously apprehend" the sounds of traditional Japanese music, he found that his creative process, "the logic of my compositional thought[,] was torn apart", and nevertheless, "hogaku [traditional Japanese music ...] seized my heart and refuses to release it".<a href="#cite_note-51">[51]</a> In particular, Takemitsu perceived that, for example, the sound of a single stroke of the biwa or single pitch breathed through the shakuhachi, could "so transport our reason because they are of extreme complexity ... already complete in themselves". This fascination with the sounds produced in traditional Japanese music brought Takemitsu to his idea of <a href="/wiki/Ma_(negative_space)" title="Ma (negative space)">ma</a> (usually translated as the space between two objects),<a href="#cite_note-52">[52]</a> which ultimately informed his understanding of the intense quality of traditional Japanese music as a whole: <blockquote> Just one sound can be complete in itself, for its complexity lies in the formulation of ma, an unquantifiable metaphysical space (duration) of dynamically tensed absence of sound. For example, in the performance of nō, the ma of sound and silence does not have an organic relation for the purpose of artistic expression. Rather, these two elements contrast sharply with one another in an immaterial balance.<a href="#cite_note-53">[53]</a> </blockquote> In 1970, Takemitsu received a commission from the <a href="/wiki/National_Theatre_of_Japan" title="National Theatre of Japan">National Theatre of Japan</a> to write a work for the <a href="/wiki/Gagaku" title="Gagaku">gagaku</a> ensemble of the Imperial Household; this was fulfilled in 1973, when he completed Shuteiga ("In an Autumn Garden", although he later incorporated the work, as the fourth movement, into his 50-minute-long "In an Autumn Garden—Complete Version").<a href="#cite_note-54">[54]</a> As well as being "... the furthest removed from the West of any work he had written",<a href="#cite_note-55">[55]</a> While it introduces certain Western musical ideas to the Japanese court ensemble, the work represents the deepest of Takemitsu's investigations into Japanese musical tradition, the lasting effects of which are clearly reflected in his works for conventional Western ensemble formats that followed.<a href="#cite_note-56">[56]</a> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Standard_chords_of_sho.png" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/en/thumb/8/87/Standard_chords_of_sho.png/220px-Standard_chords_of_sho.png" decoding="async" width="220" height="158" class="mw-file-element" data-file-width="1516" data-file-height="1090"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 158px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/8/87/Standard_chords_of_sho.png/220px-Standard_chords_of_sho.png" data-width="220" data-height="158" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/87/Standard_chords_of_sho.png/330px-Standard_chords_of_sho.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/87/Standard_chords_of_sho.png/440px-Standard_chords_of_sho.png 2x" data-class="mw-file-element"> </a><figcaption>Example 3. Standard chords produced by the <a href="/wiki/Sh%C5%8D_(instrument)" title="Shō (instrument)">shō</a>, mouth organ of the traditional Japanese court ensemble, <a href="/wiki/Gagaku" title="Gagaku">gagaku</a></figcaption></figure> In Garden Rain (1974, for brass ensemble), the limited and pitch-specific harmonic vocabulary of the Japanese mouth organ, the <a href="/wiki/Sh%C5%8D_(instrument)" title="Shō (instrument)">shō</a> (see ex. 3), and its specific timbres, are clearly emulated in Takemitsu's writing for brass instruments; even similarities of performance practice can be seen, (the players are often required to hold notes to the limit of their breath capacity).<a href="#cite_note-57">[57]</a> In A Flock Descends into the Pentagonal Garden, the characteristic timbres of the shō and its chords (several of which are simultaneous soundings of traditional Japanese pentatonic scales) are emulated in the opening held chords of the wind instruments (the first chord is in fact an exact transposition of the shō's chord, Jū (i); see ex. 3); meanwhile a solo oboe is assigned a melodic line that is similarly reminiscent of the lines played by the <a href="/wiki/Hichiriki" title="Hichiriki">hichiriki</a> in gagaku ensembles.<a href="#cite_note-58">[58]</a> <div class="mw-heading mw-heading3"><h3 id="Influence_of_Messiaen">Influence of Messiaen</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=10" title="Edit section: Influence of Messiaen" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Messaien-takemitsu_quatrain_compared.png" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/en/thumb/9/9a/Messaien-takemitsu_quatrain_compared.png/290px-Messaien-takemitsu_quatrain_compared.png" decoding="async" width="290" height="112" class="mw-file-element" data-file-width="507" data-file-height="196"></noscript><span class="lazy-image-placeholder" style="width: 290px;height: 112px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/9/9a/Messaien-takemitsu_quatrain_compared.png/290px-Messaien-takemitsu_quatrain_compared.png" data-width="290" data-height="112" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/9a/Messaien-takemitsu_quatrain_compared.png/435px-Messaien-takemitsu_quatrain_compared.png 1.5x, //upload.wikimedia.org/wikipedia/en/9/9a/Messaien-takemitsu_quatrain_compared.png 2x" data-class="mw-file-element"> </a><figcaption>Example 4. Comparison of ex.94 from <a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a>'s Technique de mon langage musical and one of the principal motives from Takemitsu's Quatrain (1975)<a href="#cite_note-Burt155-59">[59]</a></figcaption></figure> The influence of <a href="/wiki/Olivier_Messiaen" title="Olivier Messiaen">Olivier Messiaen</a> on Takemitsu was already apparent in some of Takemitsu's earliest published works. By the time he composed Lento in Due Movimenti, (1950), Takemitsu had already come into possession of a copy of Messiaen's <a href="/wiki/Preludes_(Messiaen)" title="Preludes (Messiaen)">8 Préludes</a> (through <a href="/wiki/Toshi_Ichiyanagi" title="Toshi Ichiyanagi">Toshi Ichiyanagi</a>), and the influence of Messiaen is clearly visible in the work, in the use of <a href="/wiki/Mode_(music)" title="Mode (music)">modes</a>, the suspension of regular metre, and sensitivity to timbre.<a href="#cite_note-grove-2">[2]</a><a href="#cite_note-60">[60]</a> Throughout his career, Takemitsu often made use of modes from which he derived his musical material, both melodic and harmonic among which Messiaen's <a href="/wiki/Modes_of_limited_transposition" class="mw-redirect" title="Modes of limited transposition">modes of limited transposition</a> to appear with some frequency.<a href="#cite_note-61">[61]</a> In particular, the use of the <a href="/wiki/Octatonic" class="mw-redirect" title="Octatonic">octatonic</a>, (mode II, or the 8–28 collection), and mode VI (8–25) is particularly common. However, Takemitsu pointed out that he had used the octatonic collection in his music before ever coming across it in Messiaen's music.<a href="#cite_note-Koozin1991-125-62">[62]</a> In 1975, Takemitsu met Messiaen in New York, and during "what was to be a one-hour 'lesson' [but which] lasted three hours ... Messiaen played his <a href="/wiki/Quartet_for_the_End_of_Time" class="mw-redirect" title="Quartet for the End of Time">Quartet for the End of Time</a> for Takemitsu at the piano",<a href="#cite_note-Koozin1991-125-62">[62]</a> which, Takemitsu recalled, was like listening to an orchestral performance.<a href="#cite_note-messtak-63">[63]</a> Takemitsu responded to this with his homage to the French composer, Quatrain, for which he asked Messiaen's permission to use the same instrumental combination for the main quartet, cello, violin, clarinet and piano (which is accompanied by orchestra).<a href="#cite_note-64">[64]</a><a href="#cite_note-Koozin1991-125-62">[62]</a> As well as the obvious similarity of instrumentation, Takemitsu employs several melodic figures that appear to "mimic" certain musical examples given by Messiaen in his Technique de mon langage musical, (see ex. 4).<a href="#cite_note-Burt155-59">[59]</a> In 1977, Takemitsu reworked Quatrain for quartet alone, without orchestra, and titled the new work Quatrain II. On hearing of Messiaen's death in 1992, Takemitsu was interviewed by telephone, and still in shock, "blurted out, 'His death leaves a crisis in contemporary music!'" Then later, in an obituary written for the French composer in the same year, Takemitsu further expressed his sense of loss at Messiaen's death: "Truly, he was my spiritual mentor ... Among the many things I learned from his music, the concept and experience of color and the form of time will be unforgettable."<a href="#cite_note-messtak-63">[63]</a> The composition Rain Tree Sketch II, which was to be Takemitsu's final piano piece, was also written that year and subtitled "In Memoriam Olivier Messiaen". <div class="mw-heading mw-heading3"><h3 id="Influence_of_Debussy">Influence of Debussy</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=11" title="Edit section: Influence of Debussy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Takemitsu frequently expressed his indebtedness to <a href="/wiki/Claude_Debussy" title="Claude Debussy">Claude Debussy</a>, referring to the French composer as his "great mentor".<a href="#cite_note-65">[65]</a> As <a href="/wiki/Arnold_Whittall" title="Arnold Whittall">Arnold Whittall</a> puts it: <blockquote> Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much.<a href="#cite_note-66">[66]</a> </blockquote> For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow ... the orchestration of Debussy has many musical focuses." He was fully aware of Debussy's own interest in Japanese art, (the cover of the first edition of <a href="/wiki/La_mer_(Debussy)" title="La mer (Debussy)">La mer</a>, for example, was famously adorned by <a href="/wiki/Hokusai" title="Hokusai">Hokusai</a>'s <a href="/wiki/The_Great_Wave_off_Kanagawa" title="The Great Wave off Kanagawa">The Great Wave off Kanagawa</a>).<a href="#cite_note-67">[67]</a> For Takemitsu, this interest in Japanese culture, combined with his unique personality, and perhaps most importantly, his lineage as a composer of the French musical tradition running from <a href="/wiki/Jean-Philippe_Rameau" title="Jean-Philippe Rameau">Rameau</a> and <a href="/wiki/Jean-Baptiste_Lully" title="Jean-Baptiste Lully">Lully</a> through <a href="/wiki/Hector_Berlioz" title="Hector Berlioz">Berlioz</a> in which colour is given special attention, gave Debussy his unique style and sense of orchestration.<a href="#cite_note-68">[68]</a> During the composition of Green (November Steps II, for orchestra, 1967: "steeped in the sound-color world of the orchestral music of Claude Debussy")<a href="#cite_note-69">[69]</a> Takemitsu said he had taken the scores of Debussy's <a href="/wiki/Pr%C3%A9lude_%C3%A0_l%27apr%C3%A8s-midi_d%27un_faune" title="Prélude à l'après-midi d'un faune">Prélude à l'Après-midi d'un Faune</a> and <a href="/wiki/Jeux" title="Jeux">Jeux</a> to the mountain villa where both this work and November Steps I were composed. For Oliver Knussen, "the final appearance of the main theme irresistibly prompts the thought that Takemitsu may, quite unconsciously, have been attempting a latter-day Japanese Après-midi d'un Faune".<a href="#cite_note-70">[70]</a> Details of orchestration in Green, such as the prominent use of <a href="/wiki/Antique_cymbals" class="mw-redirect" title="Antique cymbals">antique cymbals</a>, and tremolandi harmonies in the strings, clearly point to the influence of Takemitsu's compositional mentor, and of these works in particular.<a href="#cite_note-71">[71]</a> In Quotation of Dream (1991), direct <a href="/wiki/Musical_quotation" title="Musical quotation">quotations</a> from Debussy's La Mer and Takemitsu's earlier works relating to the sea are incorporated into the musical flow ("stylistic jolts were not intended"), depicting the landscape outside the Japanese garden of his own music.<a href="#cite_note-72">[72]</a> <div class="mw-heading mw-heading3"><h3 id="Motives">Motives</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=12" title="Edit section: Motives" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Several recurring musical motives can be heard in Takemitsu's works. In particular the pitch motive E♭–E–A can be heard in many of his later works, whose titles refer to water in some form (<a href="/wiki/Toward_the_Sea" title="Toward the Sea">Toward the Sea</a>, 1981; Rain Tree Sketch, 1982; I Hear the Water Dreaming, 1987). <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Takemitsu-SEA_motive.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/en/thumb/d/d5/Takemitsu-SEA_motive.jpg/260px-Takemitsu-SEA_motive.jpg" decoding="async" width="260" height="192" class="mw-file-element" data-file-width="365" data-file-height="270"></noscript><span class="lazy-image-placeholder" style="width: 260px;height: 192px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/d/d5/Takemitsu-SEA_motive.jpg/260px-Takemitsu-SEA_motive.jpg" data-width="260" data-height="192" data-srcset="//upload.wikimedia.org/wikipedia/en/d/d5/Takemitsu-SEA_motive.jpg 1.5x" data-class="mw-file-element"> </a><figcaption>Example 5. Various examples of Takemitsu's S–E–A motive, derived from the German spelling of the notes E♭, E, A ("Es–E–A")</figcaption></figure> When spelt in German (Es–E–A), the motive can be seen as a musical "transliteration" of the word "sea". Takemitsu used this motive (usually transposed) to indicate the presence of water in his "musical landscapes", even in works whose titles do not directly refer to water, such as A Flock Descends into the Pentagonal Garden (1977; see ex. 5).<a href="#cite_note-73">[73]</a> <div class="mw-heading mw-heading3"><h3 id="Musique_concrète">Musique concrète</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=13" title="Edit section: Musique concrète" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1096940132">.mw-parser-output .listen .side-box-text{line-height:1.1em}.mw-parser-output .listen-plain{border:none;background:transparent}.mw-parser-output .listen-embedded{width:100%;margin:0;border-width:1px 0 0 0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint listen-noimage"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:Takemitsu_02_Water_Music.ogg" title="File:Takemitsu 02 Water Music.ogg">Water Music</a></div> <div><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="215" style="width:215px;" data-durationhint="32" data-mwtitle="Takemitsu_02_Water_Music.ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/7/79/Takemitsu_02_Water_Music.ogg" type='audio/ogg; codecs="vorbis"' data-width="0" data-height="0"></source><source src="//upload.wikimedia.org/wikipedia/en/transcoded/7/79/Takemitsu_02_Water_Music.ogg/Takemitsu_02_Water_Music.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0"></source></audio></div> <div class="description"></div></div></div></div> </div> During Takemitsu's years as a member of the Jikken Kōbō, he experimented with compositions of <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a> (and a very limited amount of <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a>, the most notable example being Stanza II for harp and tape written later in 1972).<a href="#cite_note-74">[74]</a> In Water Music (1960), Takemitsu's source material consisted entirely of sounds produced by droplets of water. His manipulation of these sounds, through the use of highly percussive envelopes, often results in a resemblance to traditional Japanese instruments, such as the <a href="/wiki/Tsuzumi" title="Tsuzumi">tsuzumi</a> and <a href="/wiki/N%C5%8D" class="mw-redirect" title="Nō">nō</a> ensembles.<a href="#cite_note-75">[75]</a> <div class="mw-heading mw-heading3"><h3 id="Aleatory_techniques">Aleatory techniques</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=14" title="Edit section: Aleatory techniques" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> One aspect of <a href="/wiki/John_Cage" title="John Cage">John Cage</a>'s compositional procedure that Takemitsu continued to use throughout his career, was the use of <a href="/wiki/Aleatory" class="mw-redirect" title="Aleatory">indeterminacy</a>, in which performers are given a degree of choice in what to perform. As mentioned previously, this was particularly used in works such as November Steps, in which musicians playing traditional Japanese instruments were able to play in an orchestral setting with a certain degree of improvisational freedom.<a href="#cite_note-Burt-21">[21]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1096940132"><div class="side-box side-box-right listen noprint listen-noimage"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:Takemitsu_flock_descends_aleatory.ogg" title="File:Takemitsu flock descends aleatory.ogg">A Flock Descends Into the Pentagonal Garden</a></div> <div><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="215" style="width:215px;" data-durationhint="24" data-mwtitle="Takemitsu_flock_descends_aleatory.ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/4/48/Takemitsu_flock_descends_aleatory.ogg" type='audio/ogg; codecs="vorbis"' data-width="0" data-height="0"></source><source src="//upload.wikimedia.org/wikipedia/en/transcoded/4/48/Takemitsu_flock_descends_aleatory.ogg/Takemitsu_flock_descends_aleatory.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0"></source></audio></div> <div class="description"></div></div></div></div> </div> However, he also employed a technique that is sometimes called "aleatory counterpoint"<a href="#cite_note-lutos-76">[76]</a> in his well-known orchestral work A Flock Descends Into the Pentagonal Garden (1977, at [J] in the score),<a href="#cite_note-77">[77]</a> and in the score of Arc II: i Textures (1964) for piano and orchestra, in which sections of the orchestra are divided into groups, and required to repeat short passages of music at will. In these passages the overall sequence of events is, however, controlled by the conductor, who is instructed about the approximate durations for each section, and who indicates to the orchestra when to move from one section to next. The technique is commonly found in the work of <a href="/wiki/Witold_Lutos%C5%82awski" title="Witold Lutosławski">Witold Lutosławski</a>, who pioneered it in his <a href="/wiki/Jeux_v%C3%A9nitiens" title="Jeux vénitiens">Jeux vénitiens</a>.<a href="#cite_note-lutos-76">[76]</a> <div class="mw-heading mw-heading3"><h3 id="Film_music">Film music</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=15" title="Edit section: Film music" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Takemitsu's contribution to film music was considerable; in under 40 years he composed music for over 100 films,<a href="#cite_note-78">[78]</a> some of which were written for purely financial reasons (such as those written for <a href="/wiki/Noboru_Nakamura" title="Noboru Nakamura">Noboru Nakamura</a>). However, as the composer attained financial independence, he grew more selective, often reading whole scripts before agreeing to compose the music, and later surveying the action on set, "breathing the atmosphere" whilst conceiving his musical ideas.<a href="#cite_note-79">[79]</a> One notable consideration in Takemitsu's composition for film was his careful use of silence (also important in many of his concert works), which often immediately intensifies the events on screen, and prevents any monotony through a continuous musical accompaniment. For the first battle scene of <a href="/wiki/Akira_Kurosawa" title="Akira Kurosawa">Akira Kurosawa</a>'s <a href="/wiki/Ran_(film)" title="Ran (film)">Ran</a>, Takemitsu provided an extended passage of intense elegiac quality that halts at the sound of a single gunshot, leaving the audience with the pure "sounds of battle: cries screams and neighing horses".<a href="#cite_note-80">[80]</a> Takemitsu attached the greatest importance to the director's conception of the film; in an interview with Max Tessier, he explained that, "everything depends on the film itself ... I try to concentrate as much as possible on the subject, so that I can express what the director feels himself. I try to extend his feelings with my music."<a href="#cite_note-81">[81]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><h2 id="Legacy">Legacy</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=16" title="Edit section: Legacy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> In a memorial issue of Contemporary Music Review, Jō Kondō wrote, "Needless to say, Takemitsu is among the most important composers in Japanese music history. He was also the first Japanese composer fully recognized in the west, and remained the guiding light for the younger generations of Japanese composers."<a href="#cite_note-kondo-32">[32]</a> Composer <a href="/wiki/Peter_Lieberson" title="Peter Lieberson">Peter Lieberson</a> shared the following in his program note to The Ocean that has no East and West, written in memory of Takemitsu: "I spent the most time with Toru in Tokyo when I was invited to be a guest composer at his Music Today Festival in 1987. <a href="/wiki/Peter_Serkin" title="Peter Serkin">Peter Serkin</a> and composer <a href="/wiki/Oliver_Knussen" title="Oliver Knussen">Oliver Knussen</a> were also there, as was cellist <a href="/wiki/Fred_Sherry" title="Fred Sherry">Fred Sherry</a>. Though he was the senior of our group by many years, Toru stayed up with us every night and literally drank us under the table. I was confirmed in my impression of Toru as a person who lived his life like a traditional Zen poet."<a href="#cite_note-82">[82]</a> On the death of his friend, the pianist <a href="/wiki/Roger_Woodward" title="Roger Woodward">Roger Woodward</a> composed "In Memoriam Toru Takemitsu" for unaccompanied violoncello. Woodward <a href="#cite_note-83">[83]</a> recalled concerts with Takemitsu in Australia, the Decca Studios and Roundhouse, London and at the 1976 ' Music Today' Festival, with Kinshi Tsuruta and Katsuya Yokoyama; Takemitu's dedication of "For Away", "Corona" (London Version) and "Undisturbed Rest" and of the inspirational leadership he provided Woodward's generation: " From all composers with whom I ever worked it was Toru Takemitsu who understood the inner workings of music and sound on a level unmatched by anyone else. His profound humility concealed an immense knowledge of Occidental and Oriental cultures which greatly extended historical contributions of Debussy and Messiaen." His complete piano works have been recorded, among others by the Indonesian pianist and composer <a href="/wiki/Ananda_Sukarlan" title="Ananda Sukarlan">Ananda Sukarlan</a> who had worked with him during Takemitsu's last visits to Europe in his last years. In the foreword to a selection of Takemitsu's writings in English, conductor <a href="/wiki/Seiji_Ozawa" title="Seiji Ozawa">Seiji Ozawa</a> writes: "I am very proud of my friend Toru Takemitsu. He is the first Japanese composer to write for a world audience and achieve international recognition."<a href="#cite_note-84">[84]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><h2 id="Awards_and_honours">Awards and honours</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=17" title="Edit section: Awards and honours" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> Takemitsu won awards for composition, both in Japan and abroad,<a href="#cite_note-85">[85]</a><a href="#cite_note-86">[86]</a><a href="#cite_note-87">[87]</a> including the Prix Italia for his orchestral work Tableau noir in 1958, the Otaka Prize in 1976 and 1981, the Los Angeles Film Critics Award in 1987 (for the film score Ran) and the <a href="/wiki/University_of_Louisville" title="University of Louisville">University of Louisville</a> <a href="/wiki/Grawemeyer_Award_for_Music_Composition" title="Grawemeyer Award for Music Composition">Grawemeyer Award for Music Composition</a> in 1994 (for Fantasma/Cantos).<a href="#cite_note-grove-2">[2]</a> In Japan, he received the <a href="/wiki/Japan_Academy_Prize_(film)" class="mw-redirect" title="Japan Academy Prize (film)">Film Awards of the Japanese Academy</a> for outstanding achievement in music, for soundtracks to the following films: <ul><li>1979 <a href="/wiki/Empire_of_Passion" title="Empire of Passion">Empire of Passion</a> (愛の亡霊)</li> <li>1985 <a href="/wiki/Fire_Festival_(film)" title="Fire Festival (film)">Fire Festival (film)</a></li> <li>1986 <a href="/wiki/Ran_(film)" title="Ran (film)">Ran</a> (乱)</li> <li>1990 <a href="/wiki/Rikyu_(film)" title="Rikyu (film)">Rikyu</a> (利休)</li> <li>1996 <a href="/wiki/Sharaku_(film)" title="Sharaku (film)">Sharaku</a> (写楽)</li></ul> He was also invited to attend numerous international festivals throughout his career, and presented lectures and talks at academic institutions across the world. He was made an honorary member of the Akademie der Künste of the DDR in 1979, and the American Institute of Arts and Letters in 1985. He was admitted to the French Ordre des Arts et des Lettres in 1985, and the Académie des Beaux-Arts in 1986. He was the recipient of the 22nd <a href="/wiki/Suntory_Music_Award" title="Suntory Music Award">Suntory Music Award</a> (1990). Posthumously, Takemitsu received an <a rel="nofollow" class="external text" href="https://secretary.columbia.edu/honors-and-prizes/previous-recipients/complete">Honorary Doctorate from Columbia University</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200708102256/https://secretary.columbia.edu/honors-and-prizes/previous-recipients/complete">Archived</a> 8 July 2020 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> early in 1996 and was awarded the fourth <a href="/wiki/Glenn_Gould_Prize" title="Glenn Gould Prize">Glenn Gould Prize</a> in fall 1996. The Toru Takemitsu Composition Award, intended to "encourage a younger generation of composers who will shape the coming age through their new musical works", is named after him.<a href="#cite_note-p-ttca-7">[7]</a> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(6)"><h2 id="Writings">Writings</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=18" title="Edit section: Writings" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-6 collapsible-block" id="mf-section-6"> <ul><li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation book cs1">Takemitsu, Tōru (1995). Confronting Silence. Fallen Leaf Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-914913-36-0" title="Special:BookSources/0-914913-36-0"><bdi>0-914913-36-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Confronting+Silence&rft.pub=Fallen+Leaf+Press&rft.date=1995&rft.isbn=0-914913-36-0&rft.aulast=Takemitsu&rft.aufirst=T%C5%8Dru&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li>Takemitsu, Tōru, with Cronin, Tania and Tann, Hilary, "Afterword", <a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a>, vol. 27, no. 2 (Summer, 1989), 205–214, (subscription access) <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/833411">833411</a></li> <li>Takemitsu, Tōru, (trans. Adachi, Sumi with Reynolds, Roger), "Mirrors", Perspectives of New Music, vol. 30, no. 1 (Winter, 1992), 36–80, (subscription access) <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/833284">833284</a></li> <li>Takemitsu, Tōru, (trans. Hugh de Ferranti) "One Sound", Contemporary Music Review, vol. 8, part 2, (Harwood, 1994), 3–4, (subscription access) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F07494469400640021">10.1080/07494469400640021</a></li> <li>Takemitsu, Tōru, "Contemporary Music in Japan", Perspectives of New Music, vol. 27, no. 2 (Summer, 1989), 198–204 (subscription access) <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/833410">833410</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(7)"><h2 id="References">References</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=19" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-7 collapsible-block" id="mf-section-7"> <div class="mw-heading mw-heading3"><h3 id="Citations">Citations</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=20" title="Edit section: Citations" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-1"><a href="#cite_ref-1">^</a> McKenzie, Don, "Review: [Untitled] Reviewed Work(s): To the Edge of Dream, for Guitar and Orchestra", <a href="/wiki/Notes_(journal)" title="Notes (journal)">Notes</a>, 2nd Ser., vol. 46, no. 1. (Music Library Association, September 1989), 230. </li> <li id="cite_note-grove-2">^ <a href="#cite_ref-grove_2-0">a</a> <a href="#cite_ref-grove_2-1">b</a> <a href="#cite_ref-grove_2-2">c</a> <a href="#cite_ref-grove_2-3">d</a> <a href="#cite_ref-grove_2-4">e</a> <a href="#cite_ref-grove_2-5">f</a> <a href="#cite_ref-grove_2-6">g</a> <a href="#cite_ref-grove_2-7">h</a> <a href="#cite_ref-grove_2-8">i</a> <a href="#cite_ref-grove_2-9">j</a> <a href="#cite_ref-grove_2-10">k</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNarazakiMasakata2001" class="citation encyclopaedia cs1">Narazaki, Yoko; Masakata, Kanazawa (2001). "Takemitsu, Toru". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Takemitsu%2C+Toru&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Narazaki&rft.aufirst=Yoko&rft.au=Masakata%2C+Kanazawa&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988">‎ </li> <li id="cite_note-allmusic.com-3">^ <a href="#cite_ref-allmusic.com_3-0">a</a> <a href="#cite_ref-allmusic.com_3-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCoburn" class="citation web cs1">Coburn, Steven. <a rel="nofollow" class="external text" href="http://www.allmusic.com/artist/toru-takemitsu-mn0000373832">"Toru Takemitsu, Artist Biography"</a>. <a href="/wiki/AllMusic" title="AllMusic">AllMusic</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=AllMusic&rft.atitle=Toru+Takemitsu%2C+Artist+Biography&rft.aulast=Coburn&rft.aufirst=Steven&rft_id=http%3A%2F%2Fwww.allmusic.com%2Fartist%2Ftoru-takemitsu-mn0000373832&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFErickson2015" class="citation journal cs1">Erickson, Matthew (11 December 2015). <a rel="nofollow" class="external text" href="http://www.frieze.com/article/music-43">"The riotous inventiveness of Takehisa Kosugi"</a>. Frieze (176).</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Frieze&rft.atitle=The+riotous+inventiveness+of+Takehisa+Kosugi&rft.issue=176&rft.date=2015-12-11&rft.aulast=Erickson&rft.aufirst=Matthew&rft_id=http%3A%2F%2Fwww.frieze.com%2Farticle%2Fmusic-43&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKaneda2007" class="citation web cs1">Kaneda, Miki (20 December 2007). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20151002180853/http://cnmat.berkeley.edu/user/miki_kaneda/blog/2007/12/20/electroacoustic_music_japan_persistence_diy_model">"Electroacoustic Music in Japan: The Persistence of the DIY Model"</a>. University of California at Berkeley. Archived from <a rel="nofollow" class="external text" href="http://cnmat.berkeley.edu/user/miki_kaneda/blog/2007/12/20/electroacoustic_music_japan_persistence_diy_model">the original</a> on 2 October 2015. Retrieved 15 September 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=University+of+California+at+Berkeley&rft.atitle=Electroacoustic+Music+in+Japan%3A+The+Persistence+of+the+DIY+Model&rft.date=2007-12-20&rft.aulast=Kaneda&rft.aufirst=Miki&rft_id=http%3A%2F%2Fcnmat.berkeley.edu%2Fuser%2Fmiki_kaneda%2Fblog%2F2007%2F12%2F20%2Felectroacoustic_music_japan_persistence_diy_model&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <a rel="nofollow" class="external text" href="https://www.oxfordreference.com/view/10.1093/acref/9780199203833.001.0001/acref-9780199203833-e-8918?rskey=0xTzUL">"Takemitsu, Toru"</a>, The Concise Oxford Dictionary of Music, eds. <a href="/wiki/Michael_Kennedy_(music_critic)" title="Michael Kennedy (music critic)">Michael Kennedy</a> and Joyce Bourne Kennedy, (Oxford, 2013), Oxford Reference Online, Oxford University Press (subscription access). </li> <li id="cite_note-p-ttca-7">^ <a href="#cite_ref-p-ttca_7-0">a</a> <a href="#cite_ref-p-ttca_7-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.operacity.jp/en/concert/award/">"Toru Takemitsu Composition Award"</a>. Tokyo Opera City Cultural Foundation.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Toru+Takemitsu+Composition+Award&rft.pub=Tokyo+Opera+City+Cultural+Foundation&rft_id=http%3A%2F%2Fwww.operacity.jp%2Fen%2Fconcert%2Faward%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-perspnewmusic-8">^ <a href="#cite_ref-perspnewmusic_8-0">a</a> <a href="#cite_ref-perspnewmusic_8-1">b</a> <a href="#cite_ref-perspnewmusic_8-2">c</a> <a href="#cite_ref-perspnewmusic_8-3">d</a> <a href="#cite_ref-perspnewmusic_8-4">e</a> <a href="#cite_ref-perspnewmusic_8-5">f</a> <a href="#cite_ref-perspnewmusic_8-6">g</a> <a href="#cite_ref-perspnewmusic_8-7">h</a> <a href="#cite_ref-perspnewmusic_8-8">i</a> Takemitsu, Tōru, "Contemporary Music in Japan", <a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a>, vol. 27, no. 2, (Summer 1989), 3. </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKanazawa2001" class="citation encyclopaedia cs1">Kanazawa, Masakata (2001). "Japan, §IX, 2(i): Music in the period of Westernization: Western music and Japan up to 1945". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Japan%2C+%C2%A7IX%2C+2%28i%29%3A+Music+in+the+period+of+Westernization%3A+Western+music+and+Japan+up+to+1945&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Kanazawa&rft.aufirst=Masakata&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988">‎ </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Quoted in Ohtake 1993, 3. </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFujii2004" class="citation journal cs1">Fujii, Koichi (2004). "Chronology of early electroacoustic music in Japan: What types of source materials are available?". <a href="/wiki/Organised_Sound" title="Organised Sound">Organised Sound</a>. 9 (1). <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>: 63–77 [64–66]. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1017%2FS1355771804000093">10.1017/S1355771804000093</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:62553919">62553919</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Organised+Sound&rft.atitle=Chronology+of+early+electroacoustic+music+in+Japan%3A+What+types+of+source+materials+are+available%3F&rft.volume=9&rft.issue=1&rft.pages=63-77+64-66&rft.date=2004&rft_id=info%3Adoi%2F10.1017%2FS1355771804000093&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A62553919%23id-name%3DS2CID&rft.aulast=Fujii&rft.aufirst=Koichi&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFThom_Holmes2008" class="citation cs2">Thom Holmes (2008), <a rel="nofollow" class="external text" href="https://books.google.com/books?id=hCthQ-bec-QC&pg=PA106">"Early Electronic Music in Japan"</a>, Electronic and experimental music: technology, music, and culture (3rd ed.), <a href="/wiki/Taylor_%26_Francis" title="Taylor & Francis">Taylor & Francis</a>, p. 106, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-95781-6" title="Special:BookSources/978-0-415-95781-6"><bdi>978-0-415-95781-6</bdi></a>, retrieved 4 June 2011</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Early+Electronic+Music+in+Japan&rft.btitle=Electronic+and+experimental+music%3A+technology%2C+music%2C+and+culture&rft.pages=106&rft.edition=3rd&rft.pub=Taylor+%26+Francis&rft.date=2008&rft.isbn=978-0-415-95781-6&rft.au=Thom+Holmes&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DhCthQ-bec-QC%26pg%3DPA106&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-burtreviewcam-13"><a href="#cite_ref-burtreviewcam_13-0">^</a> Schlüren, Christoph, "Review: Peter Burt, 'The Music of Toru Takemitsu' (Cambridge 2001)", <a href="/wiki/Tempo_(journal)" title="Tempo (journal)">Tempo</a> no. 57, (Cambridge, 2003), 65. </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> "Takemitsu, Toru", Oxford Concise Dictionary of Music, ed. <a href="/wiki/Michael_Kennedy_(music_critic)" title="Michael Kennedy (music critic)">Michael Kennedy</a> (Oxford 2004), 722, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-860884-4" title="Special:BookSources/978-0-19-860884-4">978-0-19-860884-4</a>. </li> <li id="cite_note-15"><a href="#cite_ref-15">^</a> Burt, 71. </li> <li id="cite_note-afterword-16">^ <a href="#cite_ref-afterword_16-0">a</a> <a href="#cite_ref-afterword_16-1">b</a> <a href="#cite_ref-afterword_16-2">c</a> Takemitsu, Tōru [with Tania Cronin and Hilary Tann], "Afterword", <a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a>, vol. 27, no. 2 (Summer 1989), 205–207. </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> Burt, 92. </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> Burt, 94. </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> See Burt, 96 and Takemitsu, "Afterword", 212. </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> Smaldone, Edward, "Japanese and Western Confluences in Large-Scale Pitch Organization of Tōru Takemitsu's November Steps and Autumn", <a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a>, vol. 27, no. 2 (Summer, 1989), 217. </li> <li id="cite_note-Burt-21">^ <a href="#cite_ref-Burt_21-0">a</a> <a href="#cite_ref-Burt_21-1">b</a> Burt, 112. </li> <li id="cite_note-22"><a href="#cite_ref-22">^</a> Burt, 111. </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> Takemitsu, Mirrors, 69–70. </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> Burt, 128–129. </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> Takemitsu, "Afterword", 210. </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> Burt, 132–133. </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> Burt, 133 and 160 </li> <li id="cite_note-28"><a href="#cite_ref-28">^</a> Burt, 170. </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> Takemitsu, "Notes on November Steps", Confronting Silence, 83 </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Anderson, Julian, liner notes to Toru Takemitsu, Arc/Green, performed by <a href="/wiki/London_Sinfonietta" title="London Sinfonietta">London Sinfonietta</a>/<a href="/wiki/Oliver_Knussen" title="Oliver Knussen">Oliver Knussen</a>/<a href="/wiki/Rolf_Hind" title="Rolf Hind">Rolf Hind</a>, SINF CD3-2006. </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> Burt, 118–124 </li> <li id="cite_note-kondo-32">^ <a href="#cite_ref-kondo_32-0">a</a> <a href="#cite_ref-kondo_32-1">b</a> Kondō, Jō "Introduction: Tōru Takemitsu as I remember him", Contemporary Music Review, Vol. 21, Iss. 4, (December 2002), 1–3. </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> Takemitsu, "Dream and Number", Confronting Silence, 112. </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> Koozin 2002, 22. </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Preface to score of Rain Coming (1982), quoted in Burt, 176. </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> <a rel="nofollow" class="external text" href="http://www.jirikylian.com/creations/theatre/dream_time/info/">jirikylian.com</a>; Retrieved 6 April 2013] </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> Burt, <a rel="nofollow" class="external text" href="https://books.google.com/books?id=5W9njPe18mAC&dq=takemitsu+st+matthew+passion&pg=PA153">p. 153</a> </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Takemitsu, "Mirror and Egg", Confronting Silence, 91 and 96. </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> <a href="/wiki/Allan_Kozinn" title="Allan Kozinn">Kozinn, Allan</a>. "<a rel="nofollow" class="external text" href="https://www.nytimes.com/1996/02/21/arts/toru-takemitsu-65-introspective-composer-whose-music-evokes-east-andwest-is-dead.html">Toru Takemitsu, 65, Introspective Composer Whose Music Evokes East and West, Is Dead</a>", <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. New York City, 21 February 1996. </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> Untranslated. Tōru Takemitsu and Kenzaburo Oe, Opera wo tsukuru, Tokyo: Iwanami Shoten, 1990. </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.iuniverse.com/Bookstore/BookDetail.aspx?BookId=SKU-000177826">"A Memoir of Tōru Takemitsu By Asaka Takemitsu"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=A+Memoir+of+T%C5%8Dru+Takemitsu+By+Asaka+Takemitsu&rft_id=https%3A%2F%2Fwww.iuniverse.com%2FBookstore%2FBookDetail.aspx%3FBookId%3DSKU-000177826&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> Koozin 1991, 124. </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> Anderson, i </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> Takemitsu, "Nature and Music", Confronting Silence, 5. </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> <a href="/wiki/Oliver_Knussen" title="Oliver Knussen">Knussen, Oliver</a>, Liner notes to Takemitsu: Quotation of Dream, performed by Paul Crossley/Peter Serkin/<a href="/wiki/London_Sinfonietta" title="London Sinfonietta">London Sinfonietta</a>/Oliver Knussen, Deutsche Grammophon: Echo 20/21 453 495–2. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Takemitsu, "Nature and Music", Confronting Silence, 4. </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> Burt, 22. </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> Burt, 24. </li> <li id="cite_note-49"><a href="#cite_ref-49">^</a> Burt, 62. </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> Burt, 31 and 272. </li> <li id="cite_note-51"><a href="#cite_ref-51">^</a> Takemitsu, Tōru, "One Sound", Contemporary Music Review vol. 8, part 2,, trans. Hugh de Ferranti, (Harwood, 1994), 3–4. </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> Day, Andrea, "Ma", Buildings & Cities in Japanese History, Columbia University Website, accessed 31 May 2007 <a rel="nofollow" class="external autonumber" href="http://www.columbia.edu/itc/ealac/V3613/ma/">[1]</a> </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> Takemitsu, "One Sound", 4. </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> Burt, 160–161. </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> Poirer, Alain, Tōru Takemitsu, (Paris, 1996), 67–68. </li> <li id="cite_note-56"><a href="#cite_ref-56">^</a> Burt, 166–174. </li> <li id="cite_note-57"><a href="#cite_ref-57">^</a> Burt, 167 and Nuss, Steven, "Looking Forward, looking back: Influences of the Gagaku Tradition in the Music of Toru Takemitsu", Music of Japan Today: Tradition and Innovation, (lecture transcribed by E. Michael Richards, 1992) <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20070208224219/http://home.sprintmail.com/~emrichards/nuss.html">"Steven Nuss 1992"</a>. Archived from <a rel="nofollow" class="external text" href="http://home.sprintmail.com/~emrichards/nuss.html">the original</a> on 8 February 2007. Retrieved 2 June 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Steven+Nuss+1992&rft_id=http%3A%2F%2Fhome.sprintmail.com%2F~emrichards%2Fnuss.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988">. </li> <li id="cite_note-58"><a href="#cite_ref-58">^</a> Burt, 173–174. </li> <li id="cite_note-Burt155-59">^ <a href="#cite_ref-Burt155_59-0">a</a> <a href="#cite_ref-Burt155_59-1">b</a> Burt, 155–156. </li> <li id="cite_note-60"><a href="#cite_ref-60">^</a> Burt, 31. </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> See for example Burt, 34. </li> <li id="cite_note-Koozin1991-125-62">^ <a href="#cite_ref-Koozin1991-125_62-0">a</a> <a href="#cite_ref-Koozin1991-125_62-1">b</a> <a href="#cite_ref-Koozin1991-125_62-2">c</a> Koozin 1991, 125. </li> <li id="cite_note-messtak-63">^ <a href="#cite_ref-messtak_63-0">a</a> <a href="#cite_ref-messtak_63-1">b</a> Takemitsu, Tōru, "The Passing of Nono, Feldman and Messiaen", Confronting Silence—Selected Writings, trans./ed. Yoshiko Kakudo and Glen Glasgow, (Berkeley, 1995), 139–141. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> Burt, 154 </li> <li id="cite_note-65"><a href="#cite_ref-65">^</a> Takemitsu, Confronting Silence, 36–38. </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> <a href="/wiki/Arnold_Whittall" title="Arnold Whittall">Whittall, Arnold</a>, Liner notes to Takemitsu: Garden Rain, performed by <a href="/wiki/Philip_Jones_Brass_Ensemble" title="Philip Jones Brass Ensemble">Philip Jones Brass Ensemble</a>, Deutsche Grammophon: Echo 20/21 Series 00289 477 5382. </li> <li id="cite_note-67"><a href="#cite_ref-67">^</a> Durand Cie Edition 1905: see <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLesure2001" class="citation encyclopaedia cs1"><a href="/wiki/Fran%C3%A7ois_Lesure" title="François Lesure">Lesure, François</a> (2001). "Debussy, Claude, §6: Debussy and currents of ideas". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Debussy%2C+Claude%2C+%C2%A76%3A+Debussy+and+currents+of+ideas&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Lesure&rft.aufirst=Fran%C3%A7ois&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988">‎ </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Takemitsu, Tōru, "Dream and Number", Confronting Silence, 110. </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> Frank, Andrew, "Review: Orchestral and Instrumental Music: Tōru Takemitsu: Green", <a href="/wiki/Notes_(journal)" title="Notes (journal)">Notes</a>, 2nd ser., vol. 33, no. 4 (June 1977), 934. </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> Quoted in Anderson, i. </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Burt, 118. </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> Knussen, 5–6. </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> Burt, 176–216. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Burt, 43. </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> See Burt, 45. </li> <li id="cite_note-lutos-76">^ <a href="#cite_ref-lutos_76-0">a</a> <a href="#cite_ref-lutos_76-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRae2001" class="citation encyclopaedia cs1">Rae, Charles Bodman (2001). "Lutosławski, Witold, §5: Stylistic maturity, 1960–79". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Lutos%C5%82awski%2C+Witold%2C+%C2%A75%3A+Stylistic+maturity%2C+1960%E2%80%9379&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Rae&rft.aufirst=Charles+Bodman&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988">‎ </li> <li id="cite_note-77"><a href="#cite_ref-77">^</a> Takemitsu, Tōru, A Flock Descends Into the Pentagonal Garden, (Editions Salabert, 1977), 20. </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> <a href="/wiki/Donald_Richie" title="Donald Richie">Richie, Donald</a>, "Notes on the Film Music of Takemitsu Tōru", Contemporary Music Review, vol. 21, iss. 4, 5–16 (London, 2002), 5. </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> Richie, 5. </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> Richie, 7. </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> Tessier, Max, "Takemitsu: Interview". Cinejap, (Paris, 1978), 1. </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.wisemusicclassical.com/work/30179/The-Ocean-that-has-No-West-and-No-East--Peter-Lieberson/">"Peter Lieberson: The Ocean that has No West and No East (1997)"</a> (program notes). <a href="/wiki/Wise_Music_Group" title="Wise Music Group">Wise Music Group</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Peter+Lieberson%3A+The+Ocean+that+has+No+West+and+No+East+%281997%29&rft.pub=Wise+Music+Group&rft_id=https%3A%2F%2Fwww.wisemusicclassical.com%2Fwork%2F30179%2FThe-Ocean-that-has-No-West-and-No-East--Peter-Lieberson%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"> </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> Woodward, 322-333,586. </li> <li id="cite_note-84"><a href="#cite_ref-84">^</a> Takemitsu, Tōru, "Foreword", Confronting Silence, (California, 1995), vii </li> <li id="cite_note-85"><a href="#cite_ref-85">^</a> Burt, 277–280. </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> Wilson, Charles, "Review: Peter Burt, The Music of Toru Takemitsu", <a href="/wiki/Music_Analysis_(journal)" title="Music Analysis (journal)">Music Analysis</a>, 23/i (Oxford: 2004), 130. </li> <li id="cite_note-87"><a href="#cite_ref-87">^</a> Burton, Anthony, <a rel="nofollow" class="external text" href="https://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-6633?rskey=gSioo2">"Takemitsu, Tōru"</a>, The Oxford Companion to Music, ed. Alison Latham, (Oxford University Press, 2011), Oxford Reference Online, (subscription access). </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=21" title="Edit section: Sources" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBurt2001" class="citation book cs1">Burt, Peter (2001). The Music of Toru Takemitsu. Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-78220-1" title="Special:BookSources/0-521-78220-1"><bdi>0-521-78220-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Music+of+Toru+Takemitsu&rft.pub=Cambridge+University+Press&rft.date=2001&rft.isbn=0-521-78220-1&rft.aulast=Burt&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKoozin1991" class="citation journal cs1">Koozin, Timothy (Winter 1991). "Octatonicism in Recent Solo Piano Works of Tōru Takemitsu". <a href="/wiki/Perspectives_of_New_Music" title="Perspectives of New Music">Perspectives of New Music</a>. 29 (1): 124–140. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F833071">10.2307/833071</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/833071">833071</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Perspectives+of+New+Music&rft.atitle=Octatonicism+in+Recent+Solo+Piano+Works+of+T%C5%8Dru+Takemitsu&rft.ssn=winter&rft.volume=29&rft.issue=1&rft.pages=%3Cspan+class%3D%22nowrap%22%3E124-%3C%2Fspan%3E140&rft.date=1991&rft_id=info%3Adoi%2F10.2307%2F833071&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F833071%23id-name%3DJSTOR&rft.aulast=Koozin&rft.aufirst=Timothy&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKoozin2002" class="citation journal cs1">Koozin, Timothy (2002). "Traversing distances: Pitch organization, gesture and imagery in the late works of T l ru Takemitsu". Contemporary Music Review. 21 (4): 17–34. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F07494460216671">10.1080/07494460216671</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0749-4467">0749-4467</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:194056784">194056784</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Contemporary+Music+Review&rft.atitle=Traversing+distances%3A+Pitch+organization%2C+gesture+and+imagery+in+the+late+works+of+T+l+ru+Takemitsu&rft.volume=21&rft.issue=4&rft.pages=%3Cspan+class%3D%22nowrap%22%3E17-%3C%2Fspan%3E34&rft.date=2002&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A194056784%23id-name%3DS2CID&rft.issn=0749-4467&rft_id=info%3Adoi%2F10.1080%2F07494460216671&rft.aulast=Koozin&rft.aufirst=Timothy&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOhtake1993" class="citation book cs1">Ohtake, Noriko (1993). Creative sources for the Music of Toru Takemitsu. Scolar Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-85967-954-3" title="Special:BookSources/0-85967-954-3"><bdi>0-85967-954-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Creative+sources+for+the+Music+of+Toru+Takemitsu&rft.pub=Scolar+Press&rft.date=1993&rft.isbn=0-85967-954-3&rft.aulast=Ohtake&rft.aufirst=Noriko&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(8)"><h2 id="Further_reading">Further reading</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=22" title="Edit section: Further reading" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-8 collapsible-block" id="mf-section-8"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1">Kreidy, Ziad (2009). Takemitsu à l'écoute de l'inaudible. L'Harmattan. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-2-296-07763-8" title="Special:BookSources/978-2-296-07763-8"><bdi>978-2-296-07763-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Takemitsu+%C3%A0+l%27%C3%A9coute+de+l%27inaudible&rft.pub=L%27Harmattan&rft.date=2009&rft.isbn=978-2-296-07763-8&rft.aulast=Kreidy&rft.aufirst=Ziad&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation journal cs1">Nuss, Steven (2002). "Hearing "Japanese", hearing Takemitsu". Contemporary Music Review. 21 (4): 35–71. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F07494460216667">10.1080/07494460216667</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0749-4467">0749-4467</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:144324971">144324971</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Contemporary+Music+Review&rft.atitle=Hearing+%22Japanese%22%2C+hearing+Takemitsu&rft.volume=21&rft.issue=4&rft.pages=%3Cspan+class%3D%22nowrap%22%3E35-%3C%2Fspan%3E71&rft.date=2002&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A144324971%23id-name%3DS2CID&rft.issn=0749-4467&rft_id=info%3Adoi%2F10.1080%2F07494460216667&rft.aulast=Nuss&rft.aufirst=Steven&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation thesis cs1">Robinson, Elizabeth A. (May 2011). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20111009022756/https://cardinalscholar.bsu.edu/bitstream/123456789/194718/1/RobinsonE_2011-2_BODY.pdf">Voice, itinerant, and air: a performance and analytical guide to the solo flute works of Toru Takemitstype=Dortor of Arts</a> (PDF) (Thesis). <a href="/wiki/Ball_State_University" title="Ball State University">Ball State University</a>. Archived from <a rel="nofollow" class="external text" href="https://cardinalscholar.bsu.edu/bitstream/123456789/194718/1/RobinsonE_2011-2_BODY.pdf">the original</a> (PDF) on 9 October 2011. Retrieved 28 July 2011.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adissertation&rft.title=Voice%2C+itinerant%2C+and+air%3A+a+performance+and+analytical+guide+to+the+solo+flute+works+of+Toru+Takemitstype%3DDortor+of+Arts&rft.inst=Ball+State+University&rft.date=2011-05&rft.aulast=Robinson&rft.aufirst=Elizabeth+A.&rft_id=https%3A%2F%2Fcardinalscholar.bsu.edu%2Fbitstream%2F123456789%2F194718%2F1%2FRobinsonE_2011-2_BODY.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li>Woodward, Roger (2014). "Toru Takemitsu". Beyond Black and White. HarperCollins. pp. 322–333. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780733323034" title="Special:BookSources/9780733323034">9780733323034</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTakemitsuGill1974" class="citation book cs1"><a href="/wiki/Toru_Takemitsu" class="mw-redirect" title="Toru Takemitsu">Takemitsu, Toru</a>; Gill, Dominic (1974). <a class="external text" href="https://upload.wikimedia.org/wikipedia/commons/c/ca/Takemitsu_Woodward_Decca.pdf">Booklet of Corona(London version) For Away/Piano-Distance Undisturbed Rest LP</a> (PDF). DECCA.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Booklet+of+Corona%28London+version%29+For+Away%2FPiano-Distance+Undisturbed+Rest+LP&rft.pub=DECCA&rft.date=1974&rft.aulast=Takemitsu&rft.aufirst=Toru&rft.au=Gill%2C+Dominic&rft_id=https%3A%2F%2Fupload.wikimedia.org%2Fwikipedia%2Fcommons%2Fc%2Fca%2FTakemitsu_Woodward_Decca.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(9)"><h2 id="External_links">External links</h2> <a role="button" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=edit&section=23" title="Edit section: External links" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-9 collapsible-block" id="mf-section-9"> <ul><li><a rel="nofollow" class="external text" href="http://chorch.fc2web.com/e/takemitsu_t2.html">Toru Takemitsu: Complete Works</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20070606213159/http://www.shogakukan.co.jp/takemitsu/">"Complete Takemitsu Edition"</a> (in Japanese). <a href="/wiki/Shogakukan" title="Shogakukan">Shogakukan</a>. Archived from <a rel="nofollow" class="external text" href="http://www.shogakukan.co.jp/takemitsu/">the original</a> on 6 June 2007.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Complete+Takemitsu+Edition&rft.pub=Shogakukan&rft_id=http%3A%2F%2Fwww.shogakukan.co.jp%2Ftakemitsu%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><a rel="nofollow" class="external text" href="http://www.slate.com/id/2151656">Slate article focusing on his film music</a></li> <li><a rel="nofollow" class="external text" href="http://www.artistinterviews.eu/?page_id=62&parent_id=22/">Interview with Toru Takemitsu</a></li> <li><a rel="nofollow" class="external text" href="https://musicbrainz.org/artist/4e871dff-df89-45f5-857f-28067cdc9d5e">Tōru Takemitsu</a> discography at <a href="/wiki/MusicBrainz" title="MusicBrainz">MusicBrainz</a></li> <li><a rel="nofollow" class="external text" href="https://www.imdb.com/name/nm0006316/">Tōru Takemitsu</a> at <a href="/wiki/IMDb_(identifier)" class="mw-redirect" title="IMDb (identifier)">IMDb</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="https://brahms.ircam.fr/composers/composer/3125/">"Tōru Takemitsu (biography, works, resources)"</a> (in French and English). <a href="/wiki/IRCAM" title="IRCAM">IRCAM</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=T%C5%8Dru+Takemitsu+%28biography%2C+works%2C+resources%29&rft.pub=IRCAM&rft_id=https%3A%2F%2Fbrahms.ircam.fr%2Fcomposers%2Fcomposer%2F3125%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AT%C5%8Dru+Takemitsu" class="Z3988"></li> <li><a rel="nofollow" class="external text" href="http://www.bruceduffie.com/takemitsu.html">Interview with Tōru Takemitsu</a> on <a href="/wiki/WNIB_(defunct)" class="mw-redirect" title="WNIB (defunct)">WNIB</a> Classical 97, Chicago, 6 March 1990</li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output .navbox-subgroup{background-color:#fdfdfd}.mw-parser-output .navbox-list{line-height:1.5em;border-color:#fdfdfd}.mw-parser-output .navbox-list-with-group{text-align:left;border-left-width:2px;border-left-style:solid}.mw-parser-output tr+tr>.navbox-abovebelow,.mw-parser-output tr+tr>.navbox-group,.mw-parser-output tr+tr>.navbox-image,.mw-parser-output tr+tr>.navbox-list{border-top:2px solid #fdfdfd}.mw-parser-output .navbox-title{background-color:#ccf}.mw-parser-output .navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div> <style data-mw-deduplicate="TemplateStyles:r1130092004">.mw-parser-output .portal-bar{font-size:88%;font-weight:bold;display:flex;justify-content:center;align-items:baseline}.mw-parser-output .portal-bar-bordered{padding:0 2em;background-color:#fdfdfd;border:1px solid #a2a9b1;clear:both;margin:1em auto 0}.mw-parser-output .portal-bar-related{font-size:100%;justify-content:flex-start}.mw-parser-output .portal-bar-unbordered{padding:0 1.7em;margin-left:0}.mw-parser-output .portal-bar-header{margin:0 1em 0 0.5em;flex:0 0 auto;min-height:24px}.mw-parser-output .portal-bar-content{display:flex;flex-flow:row wrap;flex:0 1 auto;padding:0.15em 0;column-gap:1em;align-items:baseline;margin:0;list-style:none}.mw-parser-output .portal-bar-content-related{margin:0;list-style:none}.mw-parser-output .portal-bar-item{display:inline-block;margin:0.15em 0.2em;min-height:24px;line-height:24px}@media screen and (max-width:768px){.mw-parser-output .portal-bar{font-size:88%;font-weight:bold;display:flex;flex-flow:column wrap;align-items:baseline}.mw-parser-output .portal-bar-header{text-align:center;flex:0;padding-left:0.5em;margin:0 auto}.mw-parser-output .portal-bar-related{font-size:100%;align-items:flex-start}.mw-parser-output .portal-bar-content{display:flex;flex-flow:row wrap;align-items:center;flex:0;column-gap:1em;border-top:1px solid #a2a9b1;margin:0 auto;list-style:none}.mw-parser-output .portal-bar-content-related{border-top:none;margin:0;list-style:none}}.mw-parser-output .navbox+link+.portal-bar,.mw-parser-output .navbox+style+.portal-bar,.mw-parser-output .navbox+link+.portal-bar-bordered,.mw-parser-output .navbox+style+.portal-bar-bordered,.mw-parser-output .sister-bar+link+.portal-bar,.mw-parser-output .sister-bar+style+.portal-bar,.mw-parser-output .portal-bar+.navbox-styles+.navbox,.mw-parser-output .portal-bar+.navbox-styles+.sister-bar{margin-top:-1px}</style><div class="portal-bar noprint metadata noviewer portal-bar-bordered" role="navigation" aria-label="Portals"><a href="/wiki/Wikipedia:Contents/Portals" title="Wikipedia:Contents/Portals">Portals</a>:<ul class="portal-bar-content"><li class="portal-bar-item"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/21px-Audio_a.svg.png" decoding="async" width="21" height="12" class="mw-file-element" data-file-width="800" data-file-height="460"></noscript><span class="lazy-image-placeholder" style="width: 21px;height: 12px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/21px-Audio_a.svg.png" data-alt="" data-width="21" data-height="12" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/32px-Audio_a.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/42px-Audio_a.svg.png 2x" data-class="mw-file-element">  <a href="/wiki/Portal:Classical_music" title="Portal:Classical music">Classical music</a></li><li class="portal-bar-item"><noscript><img alt="flag" src="//upload.wikimedia.org/wikipedia/en/thumb/9/9e/Flag_of_Japan.svg/21px-Flag_of_Japan.svg.png" decoding="async" width="21" height="14" class="mw-file-element" data-file-width="900" data-file-height="600"></noscript><span class="lazy-image-placeholder" style="width: 21px;height: 14px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/9/9e/Flag_of_Japan.svg/21px-Flag_of_Japan.svg.png" data-alt="flag" data-width="21" data-height="14" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/9e/Flag_of_Japan.svg/32px-Flag_of_Japan.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/9e/Flag_of_Japan.svg/42px-Flag_of_Japan.svg.png 2x" data-class="mw-file-element">  <a href="/wiki/Portal:Japan" title="Portal:Japan">Japan</a></li><li class="portal-bar-item"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png" decoding="async" width="19" height="19" class="mw-file-element" data-file-width="1911" data-file-height="1944"></noscript><span class="lazy-image-placeholder" style="width: 19px;height: 19px;" data-mw-src="//upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png" data-alt="" data-width="19" data-height="19" data-srcset="//upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/28px-P_vip.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/37px-P_vip.svg.png 2x" data-class="mw-file-element">  <a href="/wiki/Portal:Biography" title="Portal:Biography">Biography</a></li><li class="portal-bar-item"><noscript><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/7px-GClef.svg.png" decoding="async" width="7" height="19" class="mw-file-element" data-file-width="15" data-file-height="41"></noscript><span class="lazy-image-placeholder" style="width: 7px;height: 19px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/7px-GClef.svg.png" data-alt="" data-width="7" data-height="19" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/10px-GClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/14px-GClef.svg.png 2x" data-class="mw-file-element">  <a href="/wiki/Portal:Music" title="Portal:Music">Music</a></li></ul></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div>    </section></div> <noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?useformat=mobile&type=1x1&usesul3=0" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Tōru_Takemitsu&oldid=1276780772">https://en.wikipedia.org/w/index.php?title=Tōru_Takemitsu&oldid=1276780772</a>"</div></div> </div> <div class="post-content" id="page-secondary-actions"> </div> </main> <footer class="mw-footer minerva-footer" role="contentinfo"> <a class="last-modified-bar" href="/w/index.php?title=T%C5%8Dru_Takemitsu&action=history"> <div class="post-content last-modified-bar__content"> Last edited on 20 February 2025, at 18:30 </div> </a> <div class="post-content footer-content"> <div id='mw-data-after-content'> <div class="read-more-container"></div> </div> <div id="p-lang"> <h4>Languages</h4> <section> <ul id="p-variants" class="minerva-languages"></ul> <ul class="minerva-languages"><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AA%D9%88%D8%B1%D9%88_%D8%AA%D8%A7%DA%A9%D9%8A%D9%85%DB%8C%D8%AA%D8%B3%D9%88" title="تورو تاکيمیتسو – Arabic" lang="ar" hreflang="ar" data-title="تورو تاکيمیتسو" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Azerbaijani" lang="az" hreflang="az" data-title="Toru Takemitsu" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target">Azərbaycanca</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%A2%D0%BE%D1%80%D1%83_%D0%A2%D0%B0%D0%BA%D0%B5%D0%BC%D0%B8%D1%86%D1%83" title="Тору Такемицу – Bulgarian" lang="bg" hreflang="bg" data-title="Тору Такемицу" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Catalan" lang="ca" hreflang="ca" data-title="Tōru Takemitsu" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/T%C3%B3ru_Takemicu" title="Tóru Takemicu – Czech" lang="cs" hreflang="cs" data-title="Tóru Takemicu" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Danish" lang="da" hreflang="da" data-title="Toru Takemitsu" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target">Dansk</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – German" lang="de" hreflang="de" data-title="Tōru Takemitsu" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Estonian" lang="et" hreflang="et" data-title="Tōru Takemitsu" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A4%CF%8C%CF%81%CE%BF%CF%85_%CE%A4%CE%B1%CE%BA%CE%B5%CE%BC%CE%AF%CF%84%CF%83%CE%BF%CF%85" title="Τόρου Τακεμίτσου – Greek" lang="el" hreflang="el" data-title="Τόρου Τακεμίτσου" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Spanish" lang="es" hreflang="es" data-title="Tōru Takemitsu" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Esperanto" lang="eo" hreflang="eo" data-title="Tōru Takemitsu" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Basque" lang="eu" hreflang="eu" data-title="Toru Takemitsu" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AA%D9%88%D8%B1%D9%88_%D8%AA%D8%A7%DA%A9%D9%87%E2%80%8C%D9%85%DB%8C%D8%AA%D8%B3%D9%88" title="تورو تاکه‌میتسو – Persian" lang="fa" hreflang="fa" data-title="تورو تاکه‌میتسو" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – French" lang="fr" hreflang="fr" data-title="Tōru Takemitsu" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Galician" lang="gl" hreflang="gl" data-title="Tōru Takemitsu" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%ED%83%80%EC%BC%80%EB%AF%B8%EC%B8%A0_%ED%86%A0%EC%98%A4%EB%A3%A8" title="타케미츠 토오루 – Korean" lang="ko" hreflang="ko" data-title="타케미츠 토오루" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Ido" lang="io" hreflang="io" data-title="Toru Takemitsu" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target">Ido</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Italian" lang="it" hreflang="it" data-title="Tōru Takemitsu" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%98%D7%95%D7%A8%D7%95_%D7%98%D7%90%D7%A7%D7%9E%D7%99%D7%A6%D7%95" title="טורו טאקמיצו – Hebrew" lang="he" hreflang="he" data-title="טורו טאקמיצו" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/Toru_Takemicu" title="Toru Takemicu – Latvian" lang="lv" hreflang="lv" data-title="Toru Takemicu" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target">Latviešu</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Lithuanian" lang="lt" hreflang="lt" data-title="Toru Takemitsu" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Takemicu_T%C3%B3ru" title="Takemicu Tóru – Hungarian" lang="hu" hreflang="hu" data-title="Takemicu Tóru" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%AA%D9%88%D8%B1%D9%88_%D8%AA%D8%A7%D9%83%D9%8A%D9%85%D9%8A%D8%AA%D8%B3%D9%88" title="تورو تاكيميتسو – Egyptian Arabic" lang="arz" hreflang="arz" data-title="تورو تاكيميتسو" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target">مصرى</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Dutch" lang="nl" hreflang="nl" data-title="Toru Takemitsu" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E6%AD%A6%E6%BA%80%E5%BE%B9" title="武満徹 – Japanese" lang="ja" hreflang="ja" data-title="武満徹" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Toru Takemitsu" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Polish" lang="pl" hreflang="pl" data-title="Tōru Takemitsu" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Portuguese" lang="pt" hreflang="pt" data-title="Tōru Takemitsu" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Romanian" lang="ro" hreflang="ro" data-title="Tōru Takemitsu" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%A2%D0%B0%D0%BA%D1%8D%D0%BC%D0%B8%D1%86%D1%83,_%D0%A2%D0%BE%D1%80%D1%83" title="Такэмицу, Тору – Russian" lang="ru" hreflang="ru" data-title="Такэмицу, Тору" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/T%C5%8Dru_Takemitsu" title="Tōru Takemitsu – Finnish" lang="fi" hreflang="fi" data-title="Tōru Takemitsu" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Swedish" lang="sv" hreflang="sv" data-title="Toru Takemitsu" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Toru_Takemitsu" title="Toru Takemitsu – Turkish" lang="tr" hreflang="tr" data-title="Toru Takemitsu" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%A2%D0%B0%D0%BA%D0%B5%D0%BC%D1%96%D1%86%D1%83_%D0%A2%D0%BE%D1%80%D1%83" title="Такеміцу Тору – Ukrainian" lang="uk" hreflang="uk" data-title="Такеміцу Тору" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Takemitsu_Toru" title="Takemitsu Toru – Vietnamese" lang="vi" hreflang="vi" data-title="Takemitsu Toru" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E6%AD%A6%E6%BB%BF%E5%BE%B9" title="武滿徹 – Cantonese" lang="yue" hreflang="yue" data-title="武滿徹" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E6%AD%A6%E6%BB%BF%E5%BE%B9" title="武滿徹 – Chinese" lang="zh" hreflang="zh" data-title="武滿徹" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li></ul> </section> </div> <div class="minerva-footer-logo"><img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; height: 1.125em;"/> </div> <ul id="footer-info" class="footer-info hlist hlist-separated"> <li id="footer-info-lastmod"> This page was last edited on 20 February 2025, at 18:30 (UTC).</li> <li id="footer-info-copyright">Content is available under <a class="external" rel="nofollow" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">CC BY-SA 4.0</a> unless otherwise noted.</li> </ul> <ul id="footer-places" class="footer-places hlist hlist-separated"> <li id="footer-places-privacy"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Privacy_policy">Privacy policy</a></li> <li id="footer-places-about"><a href="/wiki/Wikipedia:About">About Wikipedia</a></li> <li id="footer-places-disclaimers"><a href="/wiki/Wikipedia:General_disclaimer">Disclaimers</a></li> <li id="footer-places-contact"><a href="//en.wikipedia.org/wiki/Wikipedia:Contact_us">Contact Wikipedia</a></li> <li id="footer-places-wm-codeofconduct"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Universal_Code_of_Conduct">Code of Conduct</a></li> <li id="footer-places-developers"><a href="https://developer.wikimedia.org">Developers</a></li> <li id="footer-places-statslink"><a href="https://stats.wikimedia.org/#/en.wikipedia.org">Statistics</a></li> <li id="footer-places-cookiestatement"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Cookie_statement">Cookie statement</a></li> <li id="footer-places-terms-use"><a href="https://foundation.m.wikimedia.org/wiki/Special:MyLanguage/Policy:Terms_of_Use">Terms of Use</a></li> <li id="footer-places-desktop-toggle"><a id="mw-mf-display-toggle" href="//en.wikipedia.org/w/index.php?title=T%C5%8Dru_Takemitsu&mobileaction=toggle_view_desktop" data-event-name="switch_to_desktop">Desktop</a></li> </ul> </div> </footer> </div> </div> <div class="mw-notification-area" data-mw="interface"></div>  <script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.codfw.main-64bdd54dd6-jdp79","wgBackendResponseTime":200,"wgPageParseReport":{"limitreport":{"cputime":"1.036","walltime":"1.303","ppvisitednodes":{"value":6462,"limit":1000000},"postexpandincludesize":{"value":142711,"limit":2097152},"templateargumentsize":{"value":25193,"limit":2097152},"expansiondepth":{"value":16,"limit":100},"expensivefunctioncount":{"value":11,"limit":500},"unstrip-depth":{"value":1,"limit":20},"unstrip-size":{"value":170497,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 1136.899 1 -total"," 17.81% 202.538 1 Template:Infobox_classical_composer"," 12.24% 139.150 1 Template:Reflist"," 12.15% 138.126 6 Template:Nihongo"," 8.88% 100.993 5 Template:Cite_book"," 6.64% 75.508 5 Template:Navbox"," 6.54% 74.303 1 Template:Short_description"," 5.47% 62.202 1 Template:Toru_Takemitsu"," 5.31% 60.355 29 Template:Main_other"," 5.05% 57.444 1 Template:Hlist"]},"scribunto":{"limitreport-timeusage":{"value":"0.663","limit":"10.000"},"limitreport-memusage":{"value":28113642,"limit":52428800}},"cachereport":{"origin":"mw-api-ext.codfw.main-778cc5cc6f-xvrkh","timestamp":"20250220183004","ttl":2592000,"transientcontent":false}}});});</script> <script type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"Article","name":"T\u014dru Takemitsu","url":"https:\/\/en.wikipedia.org\/wiki\/T%C5%8Dru_Takemitsu","sameAs":"http:\/\/www.wikidata.org\/entity\/Q155467","mainEntity":"http:\/\/www.wikidata.org\/entity\/Q155467","author":{"@type":"Organization","name":"Contributors to Wikimedia projects"},"publisher":{"@type":"Organization","name":"Wikimedia Foundation, Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2003-05-06T19:26:55Z","dateModified":"2025-02-20T18:30:03Z","image":"https:\/\/upload.wikimedia.org\/wikipedia\/en\/4\/4c\/TakemitsuToru.jpg","headline":"Japanese composer and writer on aesthetics and music theory (1930\u20131996)"}</script><script>(window.NORLQ=window.NORLQ||[]).push(function(){var ns,i,p,img;ns=document.getElementsByTagName('noscript');for(i=0;i<ns.length;i++){p=ns[i].nextSibling;if(p&&p.className&&p.className.indexOf('lazy-image-placeholder')>-1){img=document.createElement('img');img.setAttribute('src',p.getAttribute('data-mw-src'));img.setAttribute('width',p.getAttribute('data-width'));img.setAttribute('height',p.getAttribute('data-height'));img.setAttribute('alt',p.getAttribute('data-alt'));p.parentNode.replaceChild(img,p);}}});</script> </body> </html>