yasunao tone “mp3 deviation #8” long playing record

• mp3 deviation #8 (1) (15:30)
  
  
• mp3 deviation #8 (2) (14:06)

yasunao tone “mp3 deviations #6+7” compact disc

• mp3 deviation #6 (30:36)
  
• mp3 deviation #7 (22:15)

editions mego press release...

emego 125 / yasunao tone mp3 deviations #6+7 cd release date 18.10.2011 the mp3 deviation album contains pieces that are results of the collaborative research by a team of the new aesthetics in computer music (nacm) and myself, led by tony myatt at music research center at the university of york in uk in 2009. my idea was to develop new software based on the disruption of the mp3. primarily i thought the mp3 as reproducing device could have created very new sound by intervention between its main elements, the compression encoder and decoder. it turned out that result was not satisfactory. however, we found that if the sound file had been corrupted in the mp3, the corruptions generated 21 error messages, which could be utilized to assign various 21 lengths of samples automatically. combining with different play back speeds, it could produce unpredictable and unknowable sound. that is a main pillar of the software. we, also, added some other elements such as flipping stereo channels and phase inversing alternately with a certain length of frequency ranges, which resulted different timbres and pitches. i performed several times at the mrc and i was certain that this software would be a perfect tool for performances. i have tentatively performed the piece in public in kyoto, may 2009 and in new york, in may 2010. i also performed it successfully with totally different sound sources when i was invited for the morning line in vienna in june 2011. the original sound sources made by yasunao tone. producer, yasunao tone executive producer, peter rehberg cover design, tina frank photogrpahy, tina frank, florian voggeneder digital mastering, russell haswell thanks for the support by nacm, tony myatt, mark fell, peter worth, thom blake, oliver larkin, peter rehberg, tina frank and russell haswell. the new aesthetics in computer music research project funded by the arts and humanities research council uk.

group ongaku “music of group ongaku” long playing record

• automatism (26:20) 1960
  
• object (7:34) 1960
  
  
• metaplasm 9-15 • part 1 (14:16) 1961
  
• metaplasm 9-15 • part 2 (11:26) 1961

seer sound archive press release...

1] automatism (1960) 2] object (1960) these are recordings of two live performances. recorded at mizuno's house on the same day. for both performances, they used such sound materials as musical instruments - a piano, a pedal organ, a cello, and an alto saxophone - as well as various everyday objects - an electric vacuum cleaner, a radio, an oil drum, dolls, and a set of dishes. in "automatism," such decision as who employs what instruments / objects, or how one should articulate the sound, were made spontaneously according to how each performer played at each moment, or by chance at a particular point in time and space. the performers went back and forth between two separate rooms to articulate sounds randomly in various ways, using whatever objects inside the house that were at their disposal, any object that could possibly make sounds. during the course of the performance, one of the members touched the reel of the tape recorder, manually manipulating the tape speed. unlike "automatism," in "object" each performer listened to the sounds articulated by the other members and thus attempted to consciously create and amorphous and complex, yet unified sound space as a whole. 3] metaplasm 9-15 (1961) this is a live recording of part 2 from group ongaku's first recital at sogetsu hall in tokyo. part 1 consisted of a collective improvisation using various musical instruments. the performance began as the bell rang for the opening of the show. through unconventional ways of manipulating and playing, noise-like sounds were created through the instruments. during the latter half of this performance, while playing the saxophone, both kosugi and tone walked off the stage, waded through the audience, and then disappeared. part 2 consisted of a performance that incorporated several reels of music tapes that had been prepared previous to the show, as well as radio and other various instruments. group ongaku, founded mainly by students at tokyo national university of fine arts and music, was the first collective musical improvisation group. the group began their activities in 1958, and from the naming of the group in 1960 onward, continued until somewhere around 1962. they attempted to create acoustics corresponding to actual time and space by means of collective improvisation. although methodically different, the music that they pursued incidentally shared common directions with contemporaries such as john cage and others involved in the avant-garde artist collective of fluxus. in november of 1958, shukuo mizuno and takehisa kosugi, undergraduates of the musicology program in the department of music at tokyo national university of fine arts and music, improvised sounds together, playing a cello and a violin. for them the european concept of music, in which compositions are predeterminately fixed sounds from written scores/notations that precede and regulate the performance, reduces the performance to a mere activity of representation, thereby losing the actuality of the acoustics. instead, they sought to explore different acoustics that gradually and constantly changed within actual time and space. through frequent performances every week they became convinced that improvisation, whereby creation and performance occur simultaneously, was the most effective approach for them to pursue. between 1959 and 1960, chieko (mieko) shiomi, mikio tojima, genichi tsuge, from the musicology program, yumiko tanno, of the vocal music program, and yasunao tone, a graduate of the department of japanese literature at chiba university, joined the group and frequently attempted collective improvisations at various locations. they experimented with such different musical approaches and methods as developing a performance in which each player spontaneously responded to various non-musical sounds that were extracted from instruments and/or miscellaneous everyday objects, or performing completely random and automatic approaches that emphasized the incidental or indeterminate nature of sounds as traces of certain actions. after their first recital in 1961, a conflict arose between members who interpreted collective as an approach for musical expression, and others who tried to directly connect everyday experiences with musical expressions in an attempt to transcend conventional musical concepts. subsequently, the characteristics of the group shifted from an organization for collective improvisation, to a flexible ensemble for individual musicians and artists, eventually leading members branching off into different directions of their own. among the group, kosugi, shiomi, and tone later joined fluxus. for these artists, currently active in different musical fields, group ongaku marked the beginning of the careers. hear sound art library takako okamoto

“ju-jikan • ten hours of sound from japan” double compact disc set

• tanami tono - dinergy 2 (1997)
  
• pain jerk - acid bath drip bones (1994)
  
• yasunao tone - trio for a flute player (1991)
  
• nerve net noise - thousand knocks (2001)
  
• otomo yoshihide - composition for two guitars (2001)
  
• atau tanaka - 28:33:23 (2002)
  
• i.d. - öô»..»..ßt (2001)
  
• masonna - love (2000)
  
• kozo inada - d[0] (2001)
  
  
• ichiro nodaira - neuf ecarts vers le défi (2001)
  
• hanatarash - 77up
  
• yuji takahashi - tori mo tsukai ka ii (2001)
  
• masahiro miwa - alleleuia (1998)
  
• ryoji ikeda - abstructures (2002)
  
• merzbow - electric for icc turn (1999)
  
• kazuo uehara - musique collage ii (1988)
  
• astro - apastron (2001)
  
• tetsuo furudate - der geist (2001)

23five incorporated press release...

ju-jikan: 10 hours of sound from japan 23f/sfm 901, double compact disc set in 2001, the san francisco sound-arts organization 23five and the san francisco museum of modern art co- presented ju-jikan — a ten hour ‘listening event’ documenting the past 50 years of japanese experimental music. the curators of ju-jikan; atau tanaka, ryoji ikeda, and shunichiro okada did not intend their exhibition to be a comprehensive encyclopedia of japanese experimentation; rather they sought “to trace the complex web of sonic style that constitutes the current japenese musical landscape.” tanaka, whose lucid writings are found within ju-jikan’s liner notes, takes great care in describing the contradictions and unspoken connections that linger not just within the niches of japanese audio experimentation but also throughout all of japanese culture. just as technology and electronics are the lone assimilating factors within the broad scope of ju-jikan, these same tools also gave the possibility for separation from the west and from each other to create a wealth of new languages. while the ten hour ‘listening event’ at sfmoma spanned 5 decades of historical recordings, the double cd centers upon the last decade, as a means to publish previously unreleased work from many of featured artists. all of the artists with ju-jikan (both the 2cd and the sfmoma listening event) draw from the recombinant power of electronic synthesis and the juxtaposition of disparate styles; which together have become a standard if elusively-defined musical vocabulary for japanese music. tanaka, ikeda, and okada offered convenient catagories (computer music, anti-academic movements, noise, anti-pop permutations, ambient fields, after improvised music, etc.) as ports of entry; however, they point out that many japanese experimental artists refuse to paint themselves into an aesthetic corner. ju-jikan’s cd companion features compositions from tamami toro, pain jerk, yasunao tone, nerve net noise, otomo yoshihide, atau tanaka, i.d., masonna, kozo inada, ichiro nodaira, hanatarash, yuji takahashi, ryoji ikeda, merzbow, kazuo uehara, astro, and testuo furudate. founded in 1993, 23five incorporated is a nonprofit organization dedicated to the development and increased awareness of sound works in the public arena, and to the support and education of artists working with and discussing the medium of sound. for the past 14 years, 23five incorporated has remained at the forefront in bringing the most adventurous elements of sound art to the san francisco bay area. 23five has served as an important benefactor to artists such as john duncan, christina kubisch, francisco lopez, achim wollscheid, matt heckert, zbigniew karkowski, atau tanaka, and many more.