This conclusion returns to the composerly attitude addressed repeatedly in this book, namely that most professional Japanese composers live their creative lives with an attitude of flexibility, as even the most distinguished of composers (with a few exceptions) are willing to write for both amateurs (adult and young) and professionals, music complex or simple, music comfortably funded in some tradition or resulting from the modern desire to “find their own voice.” In so doing, most Japanese composers maintain a relational role in their society. The explanation for this lies in the emergence of “the composer” in the particular conditions of Japanese musical modernity that led to the perception of and expectation for composers that they will be individuals who will make tangible contributions to their culture— in response to national political agendas or the developing infrastructures of modernization and in response to the needs of the people through the events of the twentieth century. Through participation in the increasingly shared cultural space, composers, performer-composers and performers of both Western and traditional practices are bridging differences internally and, with increasing confidence, contributing significantly to global cosmopolitan culture in the sphere of “concert music.”
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