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Composition-Conducting Lab
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A lab that explores the essence of sound and people, and studies the creation and performance of new music.
AboutAbout the lab
Creating from the essence of sound and people.
The Composition-Conducting Lab asks fundamental questions about the possibilities of humans and sound, and pursues new creative work and performance along with the basic research that underlies it.
Under Prof. Ito, a composer and conductor, the lab carries out the creation and performance of music in parallel with academic research aimed at reconsidering what music is.
Using a wide range of methods, from examining primary sources to nonlinear correlation analysis of sound fields, the lab seeks to answer artistic questions such as the origins of Gregorian chant and Western polyphony.
The lab also conducts research that creates new musical works based on how human hearing and brain cognition work.
Key terms
- overtone
- A tone contained in the sound of an instrument or voice whose pitch is an integer multiple of the fundamental. Overtones are one of the factors that determine timbre.
- nonlinear dynamics
- A mathematical approach for dealing with complex, changing systems in which cause and effect are not proportional.
- mind control
- Manipulating a person's thoughts or behavior without their awareness, through means such as how information is presented.
ResearchResearch themes
Based on human hearing and brain cognition, the lab pursues the creation and performance of music and the basic research that supports it. It also works on the analysis of musical acoustics and on fieldwork that investigates the acoustics of opera houses, temples, churches, and other spaces.
*Illustrative imageDynamical Music-Making
Using methods such as nonlinear dynamics, the lab overcomes the limits of the static frameworks that have constrained musical thinking since antiquity, such as the idea of harmony based on the overtone spectrum, and expands the possibilities of new creation and performance.
*Illustrative imageSpatial Music from the Perspective of the Auditory Field
The lab reinterprets spatial music, which has traditionally been conceived in terms of the placement of sound sources, from the viewpoint of how the brain perceives the sound field heard with both ears. Based on how hearing grasps space, it takes on the origins of Gregorian chant and the recreation of the space-time that Wagner idealized.
*Illustrative imageSpatiotemporal Analysis of Ritual Celebrations
The lab investigates traditional rituals held at Todaiji Nigatsudo, at the branch temples of the Nishi and Higashi Hongwanji, and in Christian cathedrals across Europe. It clarifies their physical and physiological background and why they take the forms they do, and opens up new possibilities.
*Illustrative imageThe Logic and Ethics of Media Expression
From wartime propaganda by Nazi Germany and the former Japanese military to the Rwandan genocide and the mind control practiced by Aum Shinrikyo, the lab examines how the abuse of media leads to catastrophe, and continues to question the logic and ethics of expression.
MembersFaculty
- ProfessorIto KenPublications ↗
VoicesStudent voices
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Report an errorAbout the images
The top and research theme images are illustrative and were not taken at the lab. They are cropped from Wikimedia Commons images. Cropped CC BY-SA images are provided under the same CC BY-SA license as the original (version shown on each line).
- Top image: “Silver conductor baton in it's case” Radina78 / CC BY-SA 4.0 (cropped)
- Dynamical Music-Making: “Spectrogram of Bach's Chorales for Organ” dobroide / CC BY-SA 2.0 (cropped)
- Spatial Music from the Perspective of the Auditory Field: “Festspielhaus Bayreuth - Gebäudeinneres 024” DALIBRI / CC BY-SA 4.0 (cropped)
- Spatiotemporal Analysis of Ritual Celebrations: “Nigatsu-dō Todaiji HDSR IMG 3710” Hyppolyte de Saint-Rambert / CC BY-SA 4.0 (cropped)
- The Logic and Ethics of Media Expression: “Vintage Atwater Kent Breadboard Radio, Circa 1920s ( )” Joe Haupt from USA / CC BY-SA 2.0 (cropped)
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