Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83



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Fujieda, Mamoru


(b Hiroshima, 10 Jan 1955). Japanese composer. After graduating from the Tokyo College of Music (1980), he studied composition and computer music with Yuasa, Mumma and Feldman at the University of California, San Diego, gaining the doctorate in 1988. He returned to Japan in 1989 and began to collaborate with Takahashi, Goldstein, Oliveros and the Deep Listening Band, the experimental theatre company Ren-niku Kōbō, the sculptress Mineko Grimmer, the butoh dancer Setsuko Yamada, and other avant-garde artists. His work has been performed at festivals in North America, Asia, Australia and Europe. In 1984 he received an Asian Cultural Council grant; the National Theatre of Japan commissioned him to write Tengoku no natsu (1988) and Yoru no uta I (1993). In 1993 he organized SoundCulture Japan, a festival of sound art; he was music director (1991–6) of Interlink, a Tokyo festival for new American music sponsored by the American embassy in Japan. In 1994 he began a collaboration with the botanist Yuji Dogane to present ecological sound installations combining alternative tunings with melodic patterns derived from digital data from plants. He is music director of the Monophony Consort, an ensemble specializing in the performance of new types of traditional Japanese music and the music of Partch, Harrison, Cage, Riley and others. Fujieda is best known for his experimentation with computer-controlled music, alternative tunings and sound installations.

WORKS


(selective list)

Pf: Falling Scale nos.1–2, 1975; Falling Scale no.3, 1977; Upward Falling, 1980; Yūsei no minwa [Planetary Folklore] I, 3 pf, 1980; Falling Scale no.4, 2 pf, 1982; Falling Scale no.7, 2 pf, 1982; Begin at the Beginning, End at the End, Begin at the End, End at the Beginning, 1982; Decorational Offering, 1983; Requiem fragmentum, 1987; Pf Cocoon, pf, cptr, 1991

Chbr and solo inst: Yūsei no minwa II, fl, ob, cl, vib, mar, pf, vn, va, vc, 1983; Double Embellished Sarabande, vn, 1983–5; Kyrie Resounded I, cl, pf, 1987; Doubles Resounded III, fl, cl, vn, vc, pf, 1992

Jap. insts: Tengoku no natsu [Summer in Heaven], shōmyō, reigaku ens, 1988; Yoru no uta [The Night Chant] I, fue, koto, 2 perc, 1993; Yoru no uta III, shōmyō, cptr, 1994; The Names of Orchids, songbook, Mez, 2 koto, 1998

Patterns of Plants: no.1, (shō, 2 koto)/(gui, hp), 1995; no.2, 2 b viol, 2 koto, 1996; no.3, 3 koto, 1996; no.4, hitsu (25-string zither), koto, 1996; no.5, hpd/pf, 1996; no.6, 17-str koto, 1996; no.7, pf, 1997; no.8, koto, 1997; no.9, 17-str koto, shō, 1997; no.10, 2 koto, 1998; no.11, koto, shō, 1998; no.12, pf, 1999

Orch: Rhetoric of Orch (Yūsei no minwa IV), 1984; Doubles Resounded IV, 1994

Chorus: Yoru no uta II, 1994

Principal publisher: Ongaku-no-Tomo Sha

Principal recording companies: ALM/Kojima, TZADIK

JUDITH ANN HERD

Fujii, Tomoaki


(b Kyoto, 16 June 1932). Japanese ethnomusicologist. He studied musicology and aesthetics at Nagoya University (BA 1955, MA 1957). He worked at the Meijō University of Nagoya, and entered the National Museum of Ethnology in Osaka as associate professor when it opened in 1974, becoming full professor in 1981. As the first representative of music at the museum, he set the direction of music there, guided field research teams, and organized many international meetings. He retired from the museum as deputy director general in 1996, to work as professor and deputy director general at the Chūbu Institute for Advanced Studies in Nagoya. He prepared the video series Sekai minzoku ongaku taikē (‘An audio-visual anthology of world music’) (Tokyo, 1988), Sin-sekai minzoku ongaku taikē (‘A new audio-visual anthology of world music’) (Tokyo, 1994), and Tenti gakubu (Tokyo, 1997), an anthology of the music and dance of 55 nationalities in China. Fujii is one of the most active ethnomusicologists in Japan in terms of field research and visual anthropology.

WRITINGS


Ongaku izen [Prior to ‘music’] (Tokyo, 1978)

Tōzai ongaku kōryū gakuzyutu tyōsa hōkoku [Report of research on musical interrelationships between East and West] (Suita, 1978–88)

Minzoku ongaku no tabi: ongaku zinruigaku no siten kara [Journeys for traditional musics from the viewpoint of the anthropology of music] (Tokyo, 1980)

with M. Suzuki: Ongaku zinruigaku (Tokyo, 1980) [trans. of A.P. Merriam: The Anthropology of Music (Evanston, IL, 1964)]

with others: Azia ongaku nyūmon [An introduction to Asian musics] (Tokyo, 1981)



Ongaku no zinruigaku [Anthropology of music] (Tokyo, 1984)

ed.: Nihon ongaku to gēnō no genryū [The roots of Japanese performing arts] (Tokyo, 1985)

ed.: Minzoku ongaku sōsyn [Handbook of ethnomusicology] (Tokyo, 1990–91)

with H. Tamura: Himaraya no gakusitati [Musicians in the Himalayas] (Tokyo, 1991)

ed., with O. Yamaguti: Minzoku ongaku gairon [Outlines of traditional musics] (Tokyo, 1992)

ed., with others: Zusetu nihon no gakki [Illustrated encyclopedia of Japanese musical instruments] (Tokyo, 1992)

ed., with H. Kosiba: Azia taiheiyō no gakki [Musical instruments of Asia and Oceania] (Tokyo, 1994)

ed.: ‘Oto’ no field work [Fieldwork on sounds] (Tokyo, 1996)



YOSIHIKO TOKUMARU


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