I don’t think composers in contemporary Japanese music have dealt with texture as well as Keitaro Takahashi (1986). Although already existing in concepts and compositional possibilities, texture is a material that requires study and experimentation to capture new aspects. Thus, there is a sonic morphology to be applied, something Takahashi immediately absorbed, also drawing on a long period of residence in Switzerland between 2011 and 2017, where he developed the idea that music should express natural or physical processes. Morphological study inevitably extended to the combination with other compositional techniques such as heterophony or micropolyphony, all useful tools for describing what is most dear to a Japanese person (the living and sonorous material of Nature, the reverberation of a cave, the energy and paradoxes of light, etc.). In a decade of research, Takahashi has provided highly valuable musical experiences, the fruit of a tangible vision of materials: sound must be paid attention to, depending on the case it can be rough or smooth, grainy or rarefied, it can be shaped, modified, expanded with appropriate interventions on the instruments or through slow microtonal changes and it can even be the result of a transformation of an electrical signal
