AETHERPHON, global theremin family

thanks for all the interesting posts about Masami.

> How is he as an instructor? My
guess is that he would be polite and demanding. I would jump at an
opportunity for a lesson or master class with Masami.

It was quite inpromptu and short.  we worked on The Swan.  He said I must
learn to create smooth movements with my left hand - this is his secret - he
is extrodinary at shaping the expression of the sound in a ever evolving
arc.  His skills is in smooth melodies - I dont' think he would play a
Pamelia Kurstin stacatto. But also I think this is partly to do with the
Series 91 - it's not great for articulation.  Incidentally, this is the most
sought after instrument in Japan - Masami believes it is the best Moog
instrument.  If you have one, you will get big bucks from a seller there.
He is very polite and demanding, but not strict (or not as strict and sharp
as Lydia Kavina) - a gentleman teacher!

Incidentally, he speaks very good, moderate English.  But I dont' think he
is able to write too well. this is more difficult.

Do you think the theremin has moved into the Japanese mainstream
consciousness or is it still regarded as a novelty?

whereas I dont' think it is 'mainstream' as such, the Japanese do not have
the same distinction between novely and kitsch and everything else as in the
West.  The Mable performers are all serious at their study, even of this
pitch only instrument.  the 'theremin as novelty' in TV and radio, I think,
would not exist in Japan.  It would be accepted and admired for what it is.

My hope is there could be an international event, like the theremin
symposium, in Japan one day that would link the practice there with the rest
of the world.  There are many, particularly in USA, who are too dissmissive
of Masami and what they are doing in Japan.

He also makes theremin playing fun!
-- 
Susi
(aka Ms Hypnotique)
Tel: 07981 222799

http://www.hypnotique.net
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See our blog: http://www.babyslave.wordpress.com


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