Steven Kazuo Takasugi



By the composer:

“On Mushrooms,” Currently Unpublished, (2017).

“Numbers,” Currently Unpublished, (2016). PDF

“On Reclusion,” Perspectives for Contemporary Music in the 21st Century, (Hofheim: Wolke Verlag, 2016), p. 9. PDF

“Warum Theater?” MusikTexte, 149, May 2016, pp. 13-15. (“Why Theater?” English Version:

“On Musical Content (from a Composer's Perspective),” Substance and Content in Music Today, (Hofheim: Wolke, 2014), pp. 11-20.

 “Not Toward, but Away: One Perspective on an Asian Influenced Future Music (2001),” The Open Space Magazine, edited by Benjamin Boretz, et al., issue 15/16, fall 2013/winter 2014, pp. 269-73.

“Material: Towards a Music Without Qualities,” Musical Material Today, (Hofheim: Wolke Verlag, 2012), pp. 179-90.

The Second Century of New Music: Search Yearbook Volume 1, edited by Franklin Cox, Dániel Péter Biró, Alexander Sigman, and Steven Kazuo Takasugi (Lewiston, NY: Edwin Mellen Press, 2011).

 “Diary of a Lung: A Guided Tour,” Facets of the Second Modernity (Hofheim: Wolke Verlag, 2008), pp. 217-28.

“Fremde Hörterrains. Sieben Betrachtungen aus der Perspektive eines aufnehmenden Mikrofonisten/Kopfhörerträgers,” (“Seven Views of a Strange Listening Terrain from the Perspective of a Sampling Microphonist/Headphonist”) Neue Zeitschrift für Musik, 2007/04, pp. 28-29.

Strange Autumn: An Attempt at an Interpretation,” Electronics in New Music (Hofheim: Wolke Verlag, 2006), 204-20.

“The morphology of spatial containers,” Musical Morphology (Hofheim: Wolke Verlag, 2004), pp. 207-22.

“Klang: sound composition ‘pulled inside out,’” The Foundations of Contemporary Composing (Hofheim: Wolke Verlag, 2004), pp. 173-86.

“Vers une myopie musicale,” Polyphony and Complexity (Hofheim: Wolke Verlag, 2002), pp. 291-302.

“Frank Cox’ Spuren,” (with Erik Ulman) Musik und Ästhetik 7 (1998), pp. 53-68.

“Chaya Czernowins ‘Afatsim:’ Resynthetisierung und Zeitentstellung” (“Afatsim by Chaya Czernowin: Melodic Resynthesis and Temporal Disfigurement”), Musik und Ästhetik 3 (1997), pp. 66-81.

About the composer’s work:

Polzhofer, Kai Johannes. “Karl Kraus in Coney Island: Steven Kazuo Takasugis Sideshow,” Musik und Ästhetik 79 (2016), pp. 5-19.

Evanoff, Ray. "Steven Kazuo Takasugi's Strange Worlds," Music We Care About #4, Foci Arts., 2016.

Power, Ian. "Steven Takasugi Sideshow, Radcliffe Institute for Advanced Study, Harvard University," Tempo, Volume 70, Issue 276, April 2016, pp. 74-75.

Seidl, Hannes. “Zwischen den Ohren: Über das Hören der Musik Steven Kazuo Takasugis,” Musik und Ästhetik 64 (2012), pp. 81-87.

Barkin, Elaine R. “Recent Excellent (and Not So Excellent) Adventures in Listening,” The Open Space Magazine, edited by Benjamin Boretz, et al., issues 12/13, 2011, pp. 182-87.

Bača, Trevor. “Unremitting Ambiguity: A Partial Reading of Steven Kazuo Takasugi’s The Flypaper” in The Second Century of New Music: Search Yearbook Volume 1, edited by Franklin Cox, et al., (Lewiston, NY: Edwin Mellen Press, 2011), pp. 149-68.

Mahnkopf, Claus-Steffen. “In Freundschaft: Mark André, Frank Cox, Wolfram Schurig und Steven Kazuo Takasugi,” Die Humanität der Musik (Hofheim: Wolke Verlag, 2007), pp. 224-42.

Tsao, Ming. “Zwischen den Zeilen von Steven Kazuo Takasugis Werk Jargon of Nothingness” (“Between the lines of Steven Kazuo Takasugi’s recent work Jargon of Nothingess”), Musik und Ästhetik 31 (2004), pp. 63-83.

Mahnkopf, Claus-Steffen. “Architektur und neue Musik,” Musik und Architektur, (Saarbrücken: PFAU-Verlag, 2003), pp. 91-92.

Mahnkopf, Claus-Steffen. “Der Strukturbegriff der musikalischen Dekonstruktion,” Musik und Ästhetik 21 (2002), pp. 53-54.