Email-Bulletin "METHOD" is a free monthly, being published
by the three Methodicists in Japan, Nakazawa Hideki
(artist), Matsui Shigeru (poet), Miwa Masahiro (composer).
Manifestos of Methodicism:

On the 29th of this August, Miwa Masahiro got the Akutagawa
Award for Music Composition.  This issue carries an urgent
three-man talk by the three Methodicists held just after the
commendation.  cf. Akutagawa Award for Music Composition: (Japanese only)


NAKAZAWA= Congratulations, Mr. Miwa, for the 14th Akutagawa
Award for Music Composition!
MATSUI= The competition concert was held some time ago,
followed by the open selection and the commendation
ceremony.  Congratulations!
MIWA= Thank you.  This award, the most famous prize in the
world of Japanese contemporary music, is to be given to a
young and energetic composer for his/her orchestral work.
NAKAZAWA= Admirably, you won at the oldest age among the
past winners, having defeated the young.
MATSUI= The award-winning piece is "Bolero by Muramatsu Gear
Engine" for Orchestra, which is familiar to the readers of
this bulletin, "METHOD."
MIWA= This is my first orchestral piece, composed older than
Bruckner's age when he had composed "Symphony No. 1."
NAKAZAWA= Mr. Miwa's image for us is a composer from the
field of computer music.
MATSUI= Therefore, I think it has great meanings both for
Mr. Miwa and for the world of composition that he got the
award in the field of orchestral music.
MIWA= The piece is also computer music because it is
"Notated Reverse-Simulation Music."  It represents the
traditional music of an imaginary tribe, the Giyacks, being
expressed in the language of Western orchestral music.
NAKAZAWA= I think you are aware of various politics like
colonialism, etc., which is already included in composing
orchestral music itself.  That is also Mr. Miwa's strong and
attracting point, I believe.
MATSUI= The liner note written as a nationalist composer is
also a part of the piece, isn't it?  The open selection
looked like Mr. Miwa's perfect game whatever results
followed, because the members of the jury did not notice of
their being taken in.
MIWA= I also intended to treat an orchestra, a group of
specialized and well-trained physical bodies, as a machine
of human power that generates minute sound.
NAKAZAWA= I heard that absolute pitches are not designated
in the string part-score, although an octave is divided into
18 equally spaced pitches.  The outcome was the sound of
funny and horrifying and violating.
MATSUI= The lasting algorism of 17 beats was like techno
sound and like local music as well.  As a whole, the sound
was marvelous.
MIWA= I want to say thank you to the members of New Japan
Philharmonic for today's performance.
NAKAZAWA= I feel sorry to hear that some string players were
not earnest enough at the premiere in Cairo last year.
MATSUI= That means the piece is such a problem composition
that even performers cannot understand it.  Being awarded
this time must be said brilliant in such meanings also.
Today, I can feel that the world of Japanese contemporary
music is not so bad.
MIWA= I want to say thank you also to those who cheered me.
NAKAZAWA= To tell the truth, those noisy people stringing
banners at the seats of the upper floor were our friends
including The Method Machine, familiar to the bulletin's
readers.  Both bravos and booings had been planned, but
actually we could not hear so many boos.
MATSUI= We have been bored for a long time at the concerts
of Japanese contemporary music always accompanied by only
kind and impassive handclaps.  We decided to do at least
such things, considering also the historical riot arisen at
the premiere of "The Rite of Spring."
MIWA= There was a period in fact when I was worried inwardly
whether such a staged plot would be ungraceful, in spite of
that I put it all into my friends' hands.
NAKAZAWA= Mr. Nodaira Ichiro, a member of the jury, gave a
precise rebuke to those who made bravos during the open
selection.  I think that was very nice.  Our intention can
be recognized only after having been criticized justifiably.
MATSUI= Powerful handclaps approving that remark by Mr.
Nodaira rose from the seats, especially from the direction
of the guests.  That was an unexpected fruit, so many people
coming to the field we had prepared.
MIWA= In addition to the prize money, I received a
commission to compose a new orchestral piece as a side
reward.  It will be premiered two years later.
NAKAZAWA, MATSUI= Congratulations again to you!  Thank you
for attending the three-man talk.


- Attached file's name: method38_miwaaward.jpg
Taken after "The 14th Competition of Akutagawa Award for
Music Composition" on Aug 29, 2004.


From Ikeda Takmi, software section
Probably, Painting, Poem, Music, Meal, Retaining Wall,
Carpenter's Ink Pad and Method are regarded as instances
belonging to the same class.  The body which observes and
expresses (displays, indicates) an object is sometimes
called The Method Machine.  Between the object and
expression, there is a crevasse which can be seen as
infinity or infinitesimal, and Machine looks into it (By
carelessness the head will get pinched).  In order to
approach the object, Machine sometimes makes machines.  Some
have already existed as practice software for PC.  It seems
that Machine learns from machines in order to display what
the machines can display instantly with the body, but the
operation like spine reflection is just a part of the
result.  The purpose is to search the viewpoint of
observation.  It likely happens that the acquired viewpoint
makes Retaining Wall look like Method and Meal look like
Probably.  Then, Machine appears and displays that not by
letters but by the body.
(We are still inviting people to join us, The Method
Machine.  For more information, please check the above URL.)


Nakazawa Hideki, artist:
at Hachinohe City Museum of Art, Aomori, Sep 4-20, 2004.
I will exhibit extra-large prints of "Sentence," et al. (Japanese only)
- MMAC Festival in Tokyo 2004
- I am writing a book "Contemporary Art History: Japan."

Matsui Shigeru, poet:
- I am writing serially on the webpage of the magazine
"Tanka Versus" (Fubaisha).  I wrote on Akutagawa Award for
Music Composition on August 31, 2004.
- September 12, 2004.  Performance at Kochi Literary Museum.
- September 25, 2004.  Marathon Reading.

Miwa Masahiro, composer:
- 9/1-7: After the successful first performance of "Bolero
by Muramatsu Gear Engine" for Orchestra in Japan, I am
flying to Linz, Austria, for the campus exhibition of IAMAS
at Ars Electronica Festival for a week.  Please visit our
exhibition and related performance events!
- 9/26: The first performance of a new piece called
"ShiShiKuriKou" for organ(s) at the 11th regular concert of
JSEM (Japanese Society of Electronic Music) in Tokyo.


- METHOD Website:
- To read the back numbers, visit the above website.
- To subscribe or unsubscribe, email:
- If you want to read in Japanese as well, let us know.
- You can send on this bulletin to others freely, but
corruption and appropriation are prohibited.

Bulletin  METHOD  NO. 38  English Version
Published on September 1, 2004
(C) Nakazawa Hideki, Matsui Shigeru, Miwa Masahiro, 2004