Thesis--Philosophie--Durham--The Univ., 1998. / Liste des oeuvres de Takemitsu f. 380-401. Bibliogr. f. 402-414.

Diss.--Philosophie--Boston (Mass.)--Graduate school of arts and sciences, Boston, Univ., 1998. / Bibliogr. p. 283-293.

Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 337-343).

This study presents the three solo flute works of Toru Takemitsu and their common traits, in order to create a comprehensive understanding of the works individually, and as a subgroup of Takemitsu’s works. Each piece makes use of the Japanese concept of ma, or space, as a structural device, hollow-tone trills and multiphonics, and the layering of several nonmusical programmatic inspirations are featured in each work. Voice was inspired by the poetry of Shuzo Takiguchi and combines theatrical elements in the style of Japanese Noh theater. Itinerant: In Memory of Isamu Noguchi was Takemitsu’s dedication to his friend, the artist Isamu Noguchi. The two shared an interest in international identities, which Takemitsu sought to create using wind and shakuhachi flute as programmatic references. Finally, Air was written as a sketch for a flute concerto. It contains each of Takemitsu’s compositional traits in a more traditional Western framework. Takemitsu’s flute works imitate the shakuhachi and Noh flutes as Takemitsu’s attempt to bridge Japanese and Western musical elements. Each of these compositional elements appears throughout Takemitsu’s catalog, which this study discusses briefly, and are especially prevalent in his works for solo flute. / School of Music

Treatise (D.M.A.) -- Florida State University, 2003. / Advisor: Leonard Mastrogiacamo, Florida State University, School of Music. Title and description from treatise home page (viewed 11-18-03). Document formatted into pages; contains 114 pages. Includes biographical sketch. Includes bibliographical references.

Leung Tai-wai David. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 107-110). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgments --- p.iv / Table of Contents --- p.vi / List of Tables --- p.vii / List of Music Examples --- p.viii / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Methodology and Analytical Issues --- p.11 / Chapter Chapter 3: --- The Sea Motive --- p.26 / Chapter Chapter 4: --- The Sea of Tonality --- p.73 / Chapter Chapter 5: --- "Conclusion: Reframing the ""Sea""" --- p.100 / Selected Bibliography --- p.107

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Thesis (Ph. D.)--Boston University, 1998. / Vita. Includes bibliographical references (leaves 283-293).

Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010. / Title from title screen (site viewed July 8, 2010). PDF text: 65 p. : ill. (some col.), music ; 2 Mb. UMI publication number: AAT 3397977. Includes bibliographical references. Also available in microfilm and microfiche formats.

This study serves as a comparison between the two works for flute, viola, and harp by Toru Takemitsu and Claude Debussy; influences of Debussy on Takemitsu and similarities between the two composers. It examines how cultural influences from both Japan and France affected each composer, and explores how other artists and composers impacted their writing. Particular focus will be put on Takemitsu's philosophical aesthetics, especially in his later years, and a comparative analysis between the two composers' trios, which include the harp. This study will present a comparative analysis of Takemitsu's trio, And then I knew 'twas Wind for Flute, Viola, and Harp, and Debussy's Sonata for Flute, Viola, and Harp, pointing out similarities and possible influences upon the composers, focusing on elements indicated in the score and writings by and about the composers.