Julia E. Robinson

  • passages November 21, 2018

    Takehisa Kosugi (1938–2018)

    IN HIS FORMATIVE YEARS as an ethnomusicology student in the Tokyo of the late 1950s, Takehisa Kosugi’s artistic field of reference included Luigi Russolo, Michel Leiris, and Pierre Schaeffer. If the first and the last are not surprising as musical models—the Futurist’s “noise” instrumentation, and the founder of musique concrète’s concern with the “variation of matter” to be derived from alternative sound sources—looking to Leiris and the Collège de Sociologie as a model for research set Kosugi’s circle apart from their artist peers and the late Surrealism that held sway in the 1950s.