Joji Yuasa

Joji Yuasa (Japanese汤 浅 譲 二, Joji Yuasa, born August 12, 1929 in Kōriyama ) is a Japanese composer.

During the preparation for medical studies at Keio University in Tokyo Yuasa met the composer Tōru Takemitsu and musicologist Kuniharu Akiyama know and joined in 1952 the Jikken - kobo, a musical Experimental Workshop, and devoted himself to composition.

He has received grants and commissions at home and abroad. Among other things, he was included in the support program of the DAAD at the University of California, San Diego, 1976 was composer in residence and was a fellow of the New South Wales Conservatorium of Music in Sydney ( 1980), the University of Toronto (1981) and IRCAM ( 1987). He was a guest composer of the Festival of the Arts of This Century (Hawaii 1970), the New Music Concerts ( Toronto 1980), the Asia Pacific Festival (New Zealand 1984) and the Pacific Music Festival ( Sapporo 1990), and lecturer at the Composers Workshop in Amsterdam ( 1984) and the Darmstadt Summer Courses (1988).

From 1981 to 1994 he was active as a professor at the University of California, San Diego, then as a professor emeritus. He was awarded the Prize of the Japan Academy of Arts in 1999.

Works

• Two Pastorals, 1952
• Three Score Set, 1953
• Serenade: pour chant "Do", 1954
• Projection for Seven Players, 1955
• Cosmos Haptic, 1957
• Projection topologic, 1959
• Projection esemplastic for piano, 1962
• Interpenetration of two flutes, 1963
• Kansoku, 1964
• Icon on the Source of White Noise, 1967
• Projection for Cello and Piano, 1967
• Projection for Koto and Orchestra, 1967
• Music for Space Projection, 1969
• Voices Comming, 1969
• Projection for String Quartet, 1970
• Triplicity for Contra Bass, 1970
• Questions, 1971
• Utterance, 1971
• Inter- posi -play -tion I, 1971
• Chrono Plastic for Orchestra, 1972
• On the keyboard, 1972
• Performing Poem "Calling Together", 1973
• Inter- posi -play -tion II, 1973
• Projection esemplastic for White Noise, 1974
• Projection on Basho 's haiku, 1974
• Territory, 1974
• Time of Orchestral Time I, 1975
• Not I, but the wind 1976
• My Blue Sky, No. 3 for solo violin, 1977
• Domain, 1978
• May Bataraki from ritual for Delphi 1979
• Projection onomatopoetic, 1979
• Requiem for Orchestra, 1980
• Scenes from Basho, 1980
• Clarinet Solitude, 1980
• A Winter Day homage to Basho, 1981
• Ishibutai Ko, 1981
• Asakano Eisho, 1982
• A Perspective for Orchestra, 1983
• Interpenetration No.2, 1983
• Observations on Weather Forecasts, 1983
• Composition on Ze Ami's grades 9, 1984
• Shin Kiyari Kanda Sanka, 1984
• Towards "The Midnight Sun", 1984
• Uta Asobi on Onomatopoeia, 1985
• Cosmos Haptic II, 1986
• Revealed Time for viola & Orchestra, 1986
• A Study in White, 1987
• Maibataraki II, 1987
• Mutterings, 1988
• Suite Fushi Gyo -Un, 1988
• To the Genesis, 1988
• Nine Levels by Ze -Ami, 1988
• Koto Uta Basho 's Haiku 5, 1989
• Scenes from Basho II, 1989
• Terms of Temporal Detailing, 1989
• Subliminal J. Hey, 1990
• Phonomatopoeia, 1991
• Eye on Genesis, 1991
• Homage a Sibelius, 1991
• Piano Concertino, 1994
• Responsory, 1995
• Symphonic Suite " The Narrow Road into ...", 1995
• Viola locus, 1995
• Violin Concerto, 1996
• Jo Ha Kyu, 1996
• Melodies, 1997
• Cosmic Solitude, 1997
• Cosmos Haptic IV for cello and piano, 1997
• In Memory of Toru Takemitsu, 1997
• Reigaku, 1997
• Solitude in Memoriam T.T. Trio for 1997
• Chrono Plastic II, 1999/2000
• Chrono Plastic III, 2001
• Projection for String Trio, 2001
• Cosmos Haptic V, 2002
• Four Seasons from Basho 's haiku, 2002
• Projection for Two Pianos, 2004
• Eye on Genesis III, 2005
• An Elegy for Mandolin Orchestra, 2008
• Symphonic Suite " Basho in the Wind of Autumn ", 2009
• Music for Cosmic Rite for Gagaku, 2011