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1930, his first formal exposure to music was that of the Western classical tradition. At first, he had an
aversion to Japanese traditional music, as it reminded him of his days serving in the War, and the
militaristic and nationalistic cultural baggage that came with this tradition. However, later in his life, he
began to compose works that featured traditional Japanese instruments, and in turn created music that had
a sense of both traditions. An important aspect he used in his compositions was the Japanese idea of
“ma”, or “space”. Takemitsu brought forth a rich idea of music and its connection to nature, and wrote in
detail on the differences between Western music and Japanese traditional music. In result, the world has
During the 8th century, there began to emerge a documented history of Japanese music. There are
some interesting parallels when comparing Japanese music with Western music. Both traditions were
established in the same 200-year period, and both traditions were heavily influenced by religion, in the
West by the Roman Catholic Church, and in Japan by Buddhism. However, these two traditions are very
different in their structure and artistic ideals. The structure of Japanese music is very different from the
structural makeup of Western music. One unique quality is the use of forward motion through different
sections until the final section occurs. There is no such thing as ‘theme” or “development” that is so
inherent in Western music. Rather, aurally recognizable patterns are realized through melody and rhythm.
There is a form seen in Japanese music, which is called “jo-ha-kyū—the introduction, the scatterings, and
the rushing toward the end” (Malm, 2009). This is not to be confused with the so-called “sonata-form” in
Western music. Another difference artistically between Western music and Japanese traditional music is
the use of words. Most of Japanese traditional music is word-oriented, either through sung-text or using
pictorial titles of instrumental pieces. This is a fundamental difference, as much of western music is not
What is the sound ideal of Japanese traditional music? Generally, it is to create a “maximum
effect with a minimum amount of material” (Malm, 2009). There is an instrument called the ‘taiko’ drum,
which has a barrel shaped body and a cowhide top. There are wooden sticks used to hit the head, however
they are very soft which limits variation in sound potential. “The taiko, like Japanese ink paintings,
accomplishes a great deal by concentrating on very carefully chosen limitations of the medium” (Malm,
2009). A second sound ideal of Japanese traditional music is the need for every instrument to be heard in
timbre and colour. This can be seen extensively in the court ensemble music (gagaku), as well as in other
places. There is a difference between multilinear lines (in Japanese music) and harmonic lines (in Western
Takemitsu had many distinct realizations regarding the natural world in connection to the
appreciation of music. He often liked to walk through different forests and gardens before composing to
regard different forms that appeared in nature . “A lifestyle out of balance with nature is frightening. As
long as we live, we aspire to harmonize with nature. It is this harmony in which the arts originated and to
which they will eventually return” (Takemitsu, 1995). Throughout history, many humans have sought to
capture the relationship of the forms in nature with the mystery of music. Why is it possible that Debussy
can evoke the image of a wave at sea, or a trickling stream through a mountain? For Takemitsu, the
answer went right to the core of the human experience; humans are inseparable from the natural world,
including the laws which make up all life and matter. He noticed the parallels between forms in nature
and in music which possesed innate beauty. “Our work is really nothing but the smallest cell from which
an anticipated organism is to grow. A certain botanist once said there is no formlessness in the cells that
form bio-organisms. In that microcosmic world all cells follow strict laws. Sometimes shapes like regular
hexahedrons can be found. Amorphous shapes are found only in dead or injured tissue. Doesn’t that tell
“Takemitsu’s attitude towards the West and to traditional Japanese instruments can be seen as a
self-conscious juxtaposition of highly constructed sounds and aesthetics. In the composer’s own words,
“the sounds of Western music dispose themselves horizontally, whereas the sounds of the shakuhachi
occur vertically, the way a tree grows” (Lin, 2016). Ma (間) is a Japanese word that is usually translated
as "pause" or "the space between two structural parts." This concept is experienced through intervals of
not in the sense of an enclosed three-dimensional entity, but rather the simultaneous awareness of form
and non-form deriving from an intense moment. Takemitsu, coming from a Japanese background,
beautifully uses the concept of Ma in his work, which creates a link between traditional Japanese music
and Western classical music. If one listens to the Japanese court music (Gagaku), there are countless
examples of intense pauses after an intense musical moment. This aspect is something that really defines
the makeup of Japanese traditional music. “Takemitsu’s use of silence, an oft-noted and distinctive
feature of his style, bears some scrutiny. Such a preoccupation could be attributed to his exposure to
Cage, as well as to indigenous Japanese aesthetics, but whatever its source it enhances the charmingly
static impression of this score. The Japanese word ma, meaning space, an interval or a pause, permeates
Although Takemitsu was born in Japan, he wasn’t exposed to traditional Japanese music until
later in his life. His first main experience with music was involved with Western classical music.
Although he had many reservations about its traditions, Takemitsu believed that traditional Japanese
music was more in tune with the natural world. “On examination we find that the Japanese prefer an
artistic expression close to nature while the Westerner treasures an artificial expression that is not part of
nature” (Takemitsu, 1995)). Throughout his career he was able to work with many Japanese performers,
and also write compositions for traditional Japanese instruments such as the ‘biwa’ and the ‘ud’. There is
a deep sense of meaning when one listens to the quality of sound rather than using it as a means of
expression. Traditional Japanese music performers unveil the quality of an individual sound from an
instrument, and in doing so are more in sync with nature, as they are revealing the inherent sound of that
instrument, rather than the superimposition of the will through “expression”. “Western performers are
also sensitive to individual sounds, but these sounds are always part of a larger design and are significant
only in their instrumental context and the framework of the piece. This concept, based on the idea of
human beings conquering nature, is essentially different from the Japanese musical point of view. It must
be said that in principle and construction, Western and Japanese music are fundamentally different”
(Takemitsu, 1995). Throughout his work, Takemitsu was able to bridge the gap between Japanese
traditional music and Western classical music. He used the innate sound quality of instruments in his
work (one can regard, ‘November Steps’) to encourage listeners to regard the specific quality of one
defined sound. “A single sound, say ‘do’ in the scale, has no particular meaning. But if we follow it with
another pitch, then another, the Western dialectic of sound association begins. In such an association of
sounds, the Western notion of musical expression is born. In this music the individual sound elements
have less individual meaning as they function to create the artistic expression. If they had varied
individual meanings, they would be less functional in contributing to the total expression. At the opposite
end of the spectrum from these sounds are the sounds of the biwa, shakuhachi, and the Australian
didjeridu. It is these two extremes that I have called the “sound of the East, sound of the West”
(Takemitsu, 1995).
Toru Takemitsu was able to see the fundamental differences between Western classical music and
Japanese traditional music, and was then able to approach his composing in a new light. Emphasizing the
importance of the connection that humans have with nature, he formed a distinct way of appreciating the
music of both cultures, and eventually forming a bridge for both audiences. “The external and internal
world is full of vibration. Existing in this stream of infinite sound, I thought that it is my task to capture a
Lin, Pin Hsin. “Synergies between East Asian and Western Classical Musical Aesthetics.” University of
California, Los Angeles, 2016.
Malm, William P. “Japanese Music.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 17 Sept.
2015, www.britannica.com/art/Japanese-music
Takemitsu Tōru. Confronting Silence: Selected Writings. Fallen Leaf Press, 1995.