(English is below)

1980年代初頭、日本のサウンドアート黎明期の牽引者であった芦川聡 と吉村弘を中心に、何人かの作家たちが展覧会で作品を披露し始めていた。とりわけ30歳の若さで夭折した芦川は、当時東京・西武美術館の付属ショップ、アール・ヴィヴァンに勤めており、海外の環境音楽、実験音楽の資料やレコードをいち早く紹介。芦川を慕って作家たちが出入りし、新しいムーヴメントの母胎となっていた。

氏家啓雄（1959年生まれ）もその一人で、多摩美術大学の学生として、秋山邦晴の「現代音楽論」ゼミを聴講していた。 その成果品として３つの作品を残していた。高橋アキが保管していた、秋山の遺品カセット群の中にそれらが発見され、ここに紹介する。サウンドアート初期の音資料は、吉村弘や鈴木昭男などごく一部を除いてはほとんど顧みられておらず、極めて貴重である。

CD 1 Displayed Music / 1981 - 82
tr.1, 2 : Aeolian Harp (sound file tr.1)
木製の角筒内部にナイロン弦が４本張られ、その下部の開口部に風を送り、弦の振動が角筒で共鳴し増幅されて音が発せられる。
tr.3 : 6 Sound Tubes (sound file tr.5)
発振器とスピーカーが内蔵されたアルミチューブ６本の持続音が、さまざまな組み合わせで鳴らされる。観客がピッチを操作することもできた。
tr.4 - 6 : Repetition Harp (take 1 - 3)
箱内部に２〜４本の弦が張られている。それをモーターで回転する円盤に付けられたツメが弾く。
tr.7, 8 : 18 Sound Tubes (sound file tr.7)
空間各所に、音程が調整できる発振器とスピーカーを入れたアルミチューブを配置。

CD 2 Sound Scape - Diffuse Music / 1983 (sound file tr.3)
東京・町田市の丘陵地帯の、小さな窪地の底の公園近辺で、意図せず発生する環境音を作品とすべく録音した作品。
窪地は大きなパラボラとなり、蝉の声、 吹奏楽部の練習音、航空機の通過音、どこかの家の工事の音などが混じり合い、拡散 (diffuse) する。

CD 3 Object of Sound ‒ Sound of Object /1983-1984
tr.1: Bell / 1983 (sound file)
素焼きの壺の口に差し込まれた、天井から吊られた真鍮棒と、モーターによって回転する真鍮のパイプが接触する。その接触音と、それぞれの壺に棒が当たる音が間欠的に響く。
tr.2 : Piano / 1984 (sound file)
円盤上に張られた136本のピアノ線を、回転するバーから吊り下げられた2本の金属棒がなでていく。
tr.3 : Organ / 1984 (sound file)
円形に並べられた素焼きの壺から、発振器の音を響かせる。
tr.4 : Air waves / 1983
ウラベノリコと石井由美子による布のインスタレーションに提供された、点描的な音による環境音楽システム。


Yoshio Uji-ie “Early Sound Installations” 3CD Box
Edition OMEGA POINT OPA-028

In the early 1980s, several artists such as Satoshi Ashikawa and Hiroshi Yoshimura, who were pioneers during the early days of Japanese sound art, began to display their works at exhibitions. Ashikawa, who passed away at the young at the age of 30, worked at Art Vivant, a store affiliated with the Seibu Museum of Art in Tokyo, and was one of the first to introduce materials and records of environmental and experimental music from outside of Japan. Artists began coming to Art Vivant to see Ashikawa, who they looked up to, and the shop became the birthplace of a new movement.

Yoshio Uji-ie (born in 1959) was one of these admirers, and as a student at Tama Art University, he attended a seminar, Kuniharu Akiyama's "Contemporary Music Theory".
He left The following three works after attending the seminar. They were found among the cassettes left behind by Akiyama that Aki Takahashi had in her possession, and they will be introduced here. The sound materials from the early days of sound art are extremely valuable because they have largely been neglected, with the exception of a few people such as Hiroshi Yoshimura and Akio Suzuki.

CD 1 Displayed Music / 1981 - 82
tr.1, 2 : Aeolian Harp
This artwork has four nylon strings stretched inside a wooden cylindrical box and a pickup attached to it. Sounds are produced when wind is blown through the opening at the bottom of the cylindrical box, and the vibrations of the strings resonate and are amplified by the cylindrical box.

tr.3 : 6 Sound Tubes
Aluminum tubes are placed along a diagonal line of the square aluminum panel. Each tube contains an oscillator and a speaker, which are integrated into a single pitch controller, allowing the audience to control the pitch.

tr.4 - 6 : Repetition Harp (take 1 - 3)
His first musical piece. Strings are stretched inside the box, which are played by a pick that is rotated by a motor. In the recording, which contains three takes, repetitive patterns can be heard in all of them. The strings could be tuned from outside the box.

tr.7, 8 : 18 Sound Tubes
Aluminum tubes containing oscillators and speakers are arranged throughout the space. Each tube has a knob to control the pitch, allowing the sound to be adjusted.

CD 2 Sound Scape - Diffuse Music / 1983 tr.1 - tr.4
The hilly terrain of Machida City, Tokyo, where he lived when he was a student at Tama Art University. The bottom of the small pit nearby was sort of like a park. The sounds of cicadas, the music coming from a brass band practicing, a passing airplane, and the sound of construction at a house somewhere in the distance all mixed together, and were diffused by the large parabola that formed in the pit.
In July 1983, Ujiie recorded these sounds on a Sony portable cassette tape recorder to create a musical piece. The results were collected while moving from place to place, and this Diffuse Music was created after some slight editing. It is a work of art that is reminiscent of a carefully crafted style of musique concrète, such as Luc Ferrari's Presque rien.

CD 3 Object of Sound - Sound of Object /1983-1984
tr.1: Bell /1983
A brass rod that is suspended from the ceiling, inserted into the mouth of an unglazed vase, comes into contact with a brass pipe rotated by a motor. The contact noise and the sound of sticks hitting each vase echo intermittently. This exhibition was performed as a set with an Aeolian harp, creating a sound space where drones and dotted sounds intertwined.

tr.2 : Piano /1984
Two metal rods suspended from a rotating bar are used to stroke the 136 piano wires stretched out over a disc. The piano wires can be tuned, but they are tuned randomly and appear as a complex cloud of sounds.

tr.3 : Organ /1984
The sound of the oscillator echoes from the unglazed vases arranged in a circle. The gentle overlapping of the electronic sounds continues almost unchanged. This piece can also be performed by controlling the pitch.

tr.4 : Air waves /1983
Participating in a fabric installation by Setsuko Urabe and Yumiko Ishii with an environmental music system. The sound system consists of four overhead speakers, three cassette tape recorders and a loop cassette. The sound drifts through the space while delaying the timing over time.

型番	Edition OMEGA POINT OPA-028
販売価格	5,000円(税込)
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