Steven Kazuo Takasugi
Composer
SELECTED PUBLICATIONS
By the composer:
“On Mushrooms,” Currently Unpublished, (2017). PDF
“Numbers,” Currently Unpublished, (2016).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: PDF)
“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. https://fociarts.com/music-we-care-about-4/, 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.