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5. Iannis Xenakis in Japan: Productive Performances and Reception of Texts

  • Mikako Mizuno (author)
Chapter of: Meta-Xenakis: New Perspectives on Iannis Xenakis’s Life, Work, and Legacies(pp. 91–100)

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Metadata
Title5. Iannis Xenakis in Japan: Productive Performances and Reception of Texts
ContributorMikako Mizuno (author)
DOIhttps://doi.org/10.11647/obp.0390.07
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.07
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightMikako Mizuno
PublisherOpen Book Publishers
Published on2024-10-09
Long abstractThe last two decades produced remarkably excellent Xenakis performers who were born in Japan and who have generated a new phase of Xenakis performances in Japan. They succeeded the first generation which had shared the same years of the avant-garde after WWII with the composer. This chapter examines Xenakis’s interactions with Japanese musicians for the Osaka World Fair (1970) and the preparatory process of Hibiki-Hana-Ma in the NHK electronic music studio and that had made important footprints on musical concepts for then- contemporary Japanese composers. The Steel and Iron Pavilion in the Osaka World Fair, designed by Kunio Maekawa, was equipped with an original sound system comprising 1008 speakers. Yuji Takahashi, Minao Shibata, and Toru Takemitsu (as well as Seiji Ozawa) were strongly impressed by Xenakis’s rather unique procedure of creating music. The millennium successors experienced several important Xenakis events in Japan during their younger days: the world premiere in Tokyo of Horos, Xenakis being awarded the prestigious Kyoto Prize, Suntory Hall’s original production of Oresteia, the recording of Synaphai with Horoaki Ooi, and so on. This chapter thereby introduces the performance history of Xenakis’s work in Japan.
Page rangepp. 91–100
Print length10 pages
LanguageEnglish (Original)
Contributors

Mikako Mizuno

(author)
Lecturer at Nagoya College of Music

Mikako Mizuno is a composer and musicologist, with a PhD in engineering focusing on the “Concept of Space in the Contemporary Music.” Her writings mostly concern electroacoustic music, cultural exchange between France and Japan, music theory, and compositional theory. Her works have been premiered in several European countries and in the USA as well as at ISEA2000 and 2002, ISCM2003,2010,2024, EMS2010 Shanghai, ICMC2017, 2018, 2019, 2021,2022, 2023, Musicacoustica2010, ACMP2011, 2012, 2013, 2018, WOCMAT2013,2018, NIME2021 etc. She worked at Nagoya City University from 1997 to 2024, teaching sound design and music information theory. She is now teaching composition and musicology at Nagoya College of Music. She is the President of the Japanese Society for Electronic Music (JSEM).