My main research was to write a theatrical work combining Japanese text with music that is to be performed as ‘shadow play' theatre. This was my first attempt to create such a large-scale work, writing both the music and the text. There have been discoveries during the process of working on this large project. Most significant was my awareness of what makes my creation more ‘individual' or ‘original' as a composer. Personal experiences and background are basically reflected on determinations of what is to be written next and how to process materials. In my case, these determinations often come out of my experience of the mixed cultural environment which is that of Japan, even if it is not my intention to be ‘Japanese'. Among the elements behind Japanese culture, I discovered key words which are time, space, colour and nuance, and these, particularly, became my strong concerns. The portfolio comprises seven works which I composed during the research period, which was from 2004 until 2010. The first part of this commentary will be a description of my thoughts on composition, particularly on what made my works individual and original. In the second part, I will be focusing on the details of my main work Kosatsuki for shadow play. The portfolio comprises the following seven pieces. • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • In the Gray Dawn for orchestra (2006) • The moon out of the blue for ensemble (2007) • Echoes from the inland sea for string quartet (2007) • Song of the Muro Women for voice and piano (2008) • Kosatsuki for shadow play theatre (2010) comprising a script and a score Recordings of the following pieces are also found on the CD enclosed. [mp3 files encoded and apended here] • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • The moon out of the blue for ensemble (2007).

Musical culture is increasingly globalised and technology allows us to engage with an evermore diversified range of musical approaches, traditions and sound-worlds. How composers react to this diversity of musical approaches is an important theme in contemporary composition. My approach to composition within this globalised situation has been to focus on the notion of ‘integration' and creating structurally consistent score-based frameworks. I have composed a portfolio of work that reflects the central focus of ‘integration', concentrating on three inter-related research areas: 1. Exploring how one can integrate or frame improvisation and/or electronics into notated structural frameworks. 2. Exploring the use of technology to translate or integrate material generated through improvisation into notational practice. 3. Developing a coherent and individual technique and aesthetic that draws on structural influences from a range of musical idioms, but never resorts to cliché or pastiche. My exploration of integration in writing the compositions in this portfolio has been primarily technical. I am fundamentally interested in the ‘nuts and bolts' of composition, how musical materials can fit together and interact. Therefore although the character and substance of the different materials I engage with is important, my foremost preoccupations when composing are the formal and technical aspects such as: structure and proportion; pitch and rhythmic organisation; orchestration technique; the use of extended notations; and compositional processes such as abstraction, permutation and rotation. As I outline in my commentary the composition in this portfolio reflects my aesthetic position that working with an eclectic range of musical materials and diverse methods of expression such as improvisation and electronics is not an end-in-itself. By integrating diverse musical influences I am not trying to create a pluralist synthesis of different semantic paradigms, but aim to find my own innovative, coherent and consistent compositional approach.