We have been focusing on the materialistic nature (physical phenomena) of sounds by utilizing the reed organ and glass tubes. Our music is composed and constructed in such a way that however the phenomena we use reacts with the circumstances of the space – the situation of the site including the audience – our live performance involves and uses these conditions. Since these compositions are studio recordings however, we decided to exclude acoustic spatial matters and the ‘one-time-ness’ of live performances and instead composed the structure of resonances within certain divisions of time. This is similar to textiles – weaving “resonances”, rather than thread, in certain patterns.

"Superposing five harmonic states" was developed by recording five harmonic states separately. Each of the harmonies was obtained by finding the characteristic sound effects made by the relationship of the chords of the organ and resonances of the glass tube. It was constructed by layering the recordings regularly in certain passages of time. The resonances of the organ and the tubes are left as they were originally recorded and the result is five separate recordings woven into a single piece.

"Weaving seven resonances: with raw stereo material" was developed by recording a state where the resonances keep a subtle balance between the relationship of the organ and the glass tubes. From the originally recorded material we found seven characteristic frequencies and reconstructed them into a piece, by giving each individual volume a transition using optionally assigned periodic variations. Thus this composition, made of a single recording, is like a piece woven by one string.

If our live performances were to be evaluated as music where we are presented with one-time incidents – i.e. reflecting the real time phenomena as ‘now and there’ in the music – this CD could be evaluated as music to analyze the sound structure of these phenomena and to make those aspects audible. It is intended to create a narrative about the phenomena which resonate through constructed sounds.

text by Minoru Sato-m/s


日本語解説：
Minoru Sato ＋ Asunaのユニットは、空気オルガンとガラス管を用いて音の物質的な性質＝物理現象に着目した制作を行ってきました。楽曲構成を持たせていますが、扱う現象自身が空間の状態（オーディエンスも含めた会場の状況）に依存し変化するので、それらを取り入れた演奏となります。今回、録音物ということで生の空間性やライブ的な一回性を排除する代わりに、特定の時間の分節の中に響きの構造を組み立てることにしました。それは丁度織物＝テキスタイルのように規則的に「響き」を編み込む作業に似ています。
"superposing five harmonic states"は、オルガンの和音とガラス管の響きの関係で特徴的な音響効果が得られる5つの調和状態を探し出し個別に録音。それらを特定の時間経過の中で規則的に重ね合わせて構成。オルガンとガラス管の響きをそのまま活かし、5つの別々の音源で織ったような楽曲となっています。
"weaving seven resonances: with raw stereo material"は、オルガンとガラス管の関係から響きが微妙な均衡を保つ状態を録音。その音源から7つの特徴的な周波数成分を抽出し、それぞれの音量を任意に割り振った周期で変化させ再構築。1つの録音物から抽出して作ったこの曲は1本の糸で編んだような楽曲となっています。
パフォーマンスが一回性の出来事に立ち会うような音楽（いまここで起こっている現象を省みる事）と位置付けるなら、ここでの録音物は現象としての音の構造を解析しその様相を聞かせる音楽（構成された音を通して響くという現象を物語る事）と位置付けられるかもしれません。