contents (disc 1): 1. “Parallel Music” (different version, 1962) - Material sounds include instrumental sounds, environmental noises, human voices, electronic sounds, etc., and all sounds appear in parallel without any relationship or order. It is said that the sound created by picking up these sounds at random, editing the tapes, splicing them together, playing several of them at the same time, and freely controlling the volume of each one is the result of Chance Operation's music. Well, I can't really accept it. When I asked him, "What kind of sound do you want?'', the engineer seemed really confused, as he only answered, "The sound that comes out instantly is a chance operation.'' - from liner note by an engineer of vol.8 of this series. Yoko Ono and Takehisa Kosugi participated in this recording.
2, “Kuu” (1965) - Toshi Ichiyanagi had composed an electronic piece of music called "Shikisokuzekuu'' and there was a plan to turn it into an opera. I ended up helping out with the stage design and spatial composition. The proposal was so radical that it would be useless in a normal venue, with the stage proceeding in the ceiling directly above and behind the audience, chairs exploding, and ultrasonic waves being emitted. In the end, I decided that a boxing gym would be a good option. - from note of Arata Isozaki (architect)
Omega Point has released Ichiyanagi's “Shikisokuzekuu-Kuusokuzeshiki” (OPA-020). This piece is electronic sound part of the complete version “Kuu”. According to Ichiyanagi, there are various discussions for the title, but it seemed to be eventually broadcasted on the radio with the title “Kuu” after a producer desired and decided to name it. On publishing by Omega Point, the original title “Shikisokuzekuu-Kuusokuzeshiki” was used as following the initial intention of Ichiyanagi.
(disc 2): 1. “Tokyo 1969 (different version, 1969) - The composition sounding work used the sound that was playing on TV and radio at that time as the material sound, and to incorporate the uncertain phenomenon of nature into the music with electronic sounds. Most devices in the electronic music studio were connected irregularly, and recorded by students operating the devices irregularly. Novel environmental music by chance operation. The version included on this CD is different from the version included in the fourth volume of this series. Although the materials are common, the compositions are different, and towards the end, the game descends into a state of catastrophic chaos.
2. “Music for Living Space” - The tower named "Sun Tower" was constructed at the festival plaza when World Expo was held in Osaka in 1970. The tower had 3 layers inside. Representing past was located underground floor, present on ground level and the future up in the air. I was asked by producer Noboru Kawazoe and composer Toshiro Mayuzumi to compose the music of the future section of "Sun Tower". It came to my mind to use the theory talk of architect Kisyo Kurokawa as a part of music with whom I was working together at the other pavilion and had intimate relation. - from liner note by Ichiyanagi on OPA-005.
This manifesto was included in the 7-inch disc that was later included as an appendix to Kurokawa's collection of works. However, at Expo 70, comments of Noboru Kawazoe and Kiyoshi Awazu, graphic designer, were also made using computer-generated voices and broadcast. These were thought to have been lost, but now they have been discovered and included in the complete version.
3. “The World” ('75) - A work that can be said to be a sequel to “Tokyo 1969”. “Tokyo 1969” was based on the structure of conversion and transformation, such as transforming popular songs into computer music and Japanese rakugo into Russian news. In doing so, he aimed to eliminate the hierarchy that exists between various types of music, and focused on issues of the times and regions from a contemporary perspective.
At “The World”, environmental motives are fundamental to the concept. We extracted several elements such as natural and artificial sounds, light, and temperature that modern humans experience through their daily actions in the urban environment. The plan was to replace them with music according to a certain system. - from Ichiyanagi's comment on a magazine published in 1975.