Jean-Claude Eloy -- Gaku-No-Michi / “Tokyo“ (1978)

PLEASE SUPPORT THE ARTIST. If you’re interested in this music, buy the cds. music piracy is hurting the artist who created the cds. Check out this site to recieve legal music: (The Ways Of Music) for electronic and concrete sounds. Produced in the electronic music studio (Denshi Ongaku) of . Radio (Nippon Hoso Kyokai), Tokyo 1977-1978 I. “Toyko“ The Way of everyday sounds (From the concrete to the abstract) As its title indicates, this part finds it source in Tokyo city sounds (subway, bus, voices on speakers, buzzers, elevators, department stores, railway stations, etc.), to which other sounds of Japanese life are mixed (temple bells in Kyoto, priests` bells, drums, announcements of „Sumo“ wrestling matches etc.) In the first phase, the original sounds -- altough modulated, re-worked and assembled in numerous ways -- remain deliberatly identifiable, for the most part. Then, a second phase, rather short, forms a more abstract transition, relying on numerous exclusively electronic sounds (a voice asks the question: “What is ... Japanese sound? “ ...). Finally, the third phase -- the longest one -- is made up of a continuous thread, slowly progressing and often very dense: A direct allusion to the bustling impression given by teeming active masses, an impression this gigantic city can provoke. This “spiraling“ development unifies, gathers up, mixes the diverse origins of sound material (concrete and electronic), carrying them towards greater and greater abstraction, which turns the end of “Tokyo“ into a kind of transsubstantiation-loss from the distant, nearly forgotten memory of sound “signs“ of this city. An example of the “Way“, of the “path“ through sounds. (Hors-Territoires n° 3b (2005-2010) p. 58) Gaku-No-Michi (The Ways of music): “Pachinko“ (sound of introduction) [40’] I. “Tokyo“ The way of everyday sounds (from the concrete to the abstract) [49’] II. “Fushiki-E“ The way of meditation sounds (from the abstract to the concrete) [78’] “Mokuso“ (sound of stillness) [5’] III. “Banbutsu-No-Ryudo“ The way of metamorphoses of meaning (from the concrete to the concrete) [33’] IV. “Kaiso“ The way of meaning beyond metamorphoses (from the abstract to the abstract) [41’] “Han“ (sound of prolongation) [15’] Digitalized and revised version (2006)