~ Shigenari KANEDA Homepage ~


Welcome to my website!
Thank you for visiting. I am planning to discuss the following topics here.
I will introduce the outline of the topics and the abstracts of recommended ones. I hope you will enjoy my site.


  1. In Order to Make Classics Our Life Long Mates Points to Keep in Mind When Appreciating Classics.
  2. My View of Music and Attitude as a Composer. Following topics are planning to write next time.
  3. To appreciate Art is to Learn Styles.
  4. There is a Big Gap between CULTURE and the Japanese Word, BUNKA. The Japanese Word "GEIJUTSU" dose not Carry a Connotation of "Expressive Skills".
  5. Is Music Only for Entertainment?
  6. "Musical Notes" as Components of Music.
  7. The Secret of Music Originates from Humankind's Perpetual Pursuit of con- sistency and Eternity.
  8. Words Control Humans through Conditioned Reflex.
  9. Suggestions for Retranslation of Foreign Languages.
  10. Christianity behind Westerner's Beliefs and Views.
  11. What the Japanese Way of Acceptance Likes.



Father: KANEDA Haruo(1912~1970)who was a composer, and a former teacher of music at public high school.
Mother: KANEDA Yoshiko(1915~2007)who was a poet, and a former teacher of maths at public high school.
The second son: KANEDA Yuushi(1944~)who is a composer, and a part-time instructer at Kurashiki Sakuyou University.
The third son: KANEDA Tyouji(1948~)who is a composer, and a post-graduate professor at Tokyo National University of Liberal Arts.
Wife: Kie(1942~)who was a Japanese teacher, and a former teacher of music at public high school.

Personal History

1942 Born on July 14 in Nogamidouri, Engaru town, Monbetu County, Hokkaido, the first born son. Engaru is an inland and important traffic point, about 60 kilometers, from the Sea of Okhoch.(There is a Self-Defense Force base there at present.) And the Yuubetu river flows through the town, it’s main industry is agriculture.
In the past, it had heavy snowfall. People used to dig snow off the street and from their front doors every morning during the winter season.
I was introduced to classical music by my father from four years old.
1952 Moved to Asahikawa city, after Yoshida village, Sousa County, (present day Sausa city). Yoshida village is an inland point about 60 kilometers from Kujyuuku-ri-hama and faces the Pacific Ocean. Yoshida village had some retail stores, a primary school and a junior high school. It’s quite a small school and it only has one class in onegrade.
1957 Studied under IKENOUCHI Tomojirou, a composer, a person who received the medal of culture (Bunka-Kourou-sha) and the Legion of Honour.
1962 Composed Sonata for violin and piano (My five best recommend works No.1)
1963 Composed Piano sonata (My five best recommend works No.2)
1964 Received Ataka Prize, a scholarship at Tokyo National University of Fine Arts and Music. Two people are select in the forth year from all subjects.
1965 Received 3rd Prize in the composition section of the 35th Japan Music Competition (Orchestral composition)
1966 Received 3rd Prize in the composition section of the 36th Japan Music Competition (Chamber composition)

Completed Graduate Course at Tokyo National University of Fine Arts and Music, Master of Arts. At university studied under SIMAOKA Uzuru, YASHIRO Akio, MATUMURA Teizou, and MOROI Macoto.
Got a position as a associate professor as Sakuyou Music College in Tuyama city, Okayama prefecture.

1976 Changed jobs to Yamagata National University.

Presided over “Noah’s ark, society of thinking and modern music.”
(Ymagata city, president is SASAKI Ryoujun)

1990 Entered Japan Composers Federation(JFC) and Composers in Touhoku.
1998 Became Postgraduate professor of Yamagata University, faculty of education, art and science.

Retired from Yamagata National University.

Major works


Sonata for violin and pianoforte (My five best recommend works No.1, published number: JFC 9909, CD manufactured number: JFC_R2002 Vol.30)

1963 Piano sonata (My five best recommend works No.2, planning for publish by Mother Earth Co., Ltd.)

Scherzo for orchestra

1965 One Movement Symphony awarded The 3rd Prize in Japan Music Competition
1978 Monument Ⅳ for Feminine Chorus, Brass Ensemble, Violoncello, Percussion and Engineer (published by Ongaku- no- tomo- sha)
1980 Live for Flute and Pianoforte (My five best recommend works No.3, JFC 9601 Vol.24)
1983 Live for Flute and Pianoforte (My five best recommend works No.3, JFC 9601 Vol.24)

Live Ⅲ for Clarinet, Violoncello, and Pianoforte (JFC 9408, Fpcd_2175)


Trance for Violin and Pianoforte (JFC 9703, JFC_C )

1991 Choir suite “Some day, some time” whole in 8 tune (My five best recommend works No.4 planing for publish by Mother Earth Co., Ltd.)
2008 “Moun to HONMA Masao” for Solo Violoncello (My five best recommend works   No.5 planing for publish by Mother Earth Co., Ltd.)

WORK LIST & My Five Best Recommend Works

1: A Tip for Understanding the Philosophy of Music.
2: The Background of My Philosophy of Music TSUIGAINEN-SHIKOU. (A Thinking Way of Opposite Idea Concept)
3: Reconsidering a Way of life.
4: Miscellaneous Impressions on Culture.


That is all on my website for this time.
I am planning to update this website every six months. Thank you for reading through.
I look forward to your next visit!

My five best recommended works

1 Sonata for violin, piano_ list of works No.9

I composed this work during my second year at Tokyo national university of Fine art and music. It was first performed that same year at the Sakuhin happyoukai, a presentation of new works held by The Arts Festival, the fate of faculty.
I can still remember Mr.Hiroshi Tamaki’s words when he visited me in the dressing room after the performance.
Mr.Tamaki is famous for a theme song “Ge-ge-ge no Kitarou” etc. He said “Wonderful!! You should have participated Mai-con, and you would have surely won the first prize!!” Mai-con is the abbreviation for a music competition in Japan. It’s an authoritive competition as the gateway to music world in Japan.
He told me I couldn’t make the entry requirement for the competition because I had already made this work public.
He was majoring in violin but felt a great interest in compose from that time so he was in close contact with those of us who were majoring in composition.
I tried various ideas for the structure. For example, it looks are reproduced the former theme. This technique was in the finale used by L・V・Beethoven in the finale of his 9th Symphony. I think this was the reason why the work was successful. Therefore, I think it’s cause for success. So I’m pleased with myself whenever I listen to this music.
The first movement is a sonata with a short introduction, and the recapitulation starts from the 2nd theme. The second movement is a layered form that’s composed of three parts from a Japanese lullaby. It has repeated changing at keys and ranges. The finale is an active Rondou form.

2 Sonata for piano solo_ work No.11

I was told by an associate when this was performed for the first time “Your name will live forever because of this piece.” Then another musician, who has studied overseas, said “What nice music it is!! I wish (that)there would be many post romantic styles at music by Japanese composers.
In Europe, the composers don’t chase the avant-garde style as Japanese do, but treasure their own style.”
I decided to continue using the same style for my violin sonata. Western history taught me that this style is used by many great composers who made fine work and who have mastered many other techniques when they composed edutes.
I did my best to compose a so-called “famous work” by using only tonality. So, that’s how I could understand and I accepted his words as sincere opinion rather than irony.
I really appreciate his words.
I was going to just give a trial performance of this work and keep it in my library, but I decided to perform it officially because I felt great necessity to show what I was doing to my students and to bring composing of classical music closer to the public.

3 Live for flute and piano_ work No.6

This work was started because of a recommendation by Mr.MIYAMOTO Akiyasu who is my old co-worker and a prominent figure in the Japanese flute world.
My analysis of his music had a major impact on Prof. YASHIORO Akio So I will try to do my best to explain the conection between music theory and how it expresses images or effects on the students.
I got this critique from a researcher of contemporary music whose work is repre- sentative of domestic flute music in Japan.
The public premièr which was a short recital by composer SASAKI Ryohjyun who is my pupil and good friend.
Premièr flutist : MURATA Kunio, pianist : WATANABE(present YOSHIDA) Natumi.

4  Choir suite “Some day, some time” _ work No.22

I was worried about presenting a boring list of eight different poets. But it got a generally good reception, “No.2 Kaze-uta, wind song”, a poemed by ITOH Shinichi was especially praised.
As I dedicated the music and CD to him so he in turn presented to me with sincere thanks a gift of his collection of poems autographed by him.
Besides that, No5, 6, and 8 tune, “Wata-yuki” (Large snowflakes, a poem by WADA Tetsuzou), “Hatsu-koi” (First love by YOSHIHARA Sachiko), and “Haru-no-tame-ni” (For spring by OHOKA Makoto) received favorable reviews. Of the others, “Wata-yuki” with its elegant melody and murmuring refrain was popular among women, and got a standing ovation.
Mr. FUJINO Yuuichi, a Postgraduate professor of Yamagata National University who conducted the first performance of all the music, was joined by our co-worker soon after. But the memory of taking up his new post slowly ebbed away.
I would like to thank every member of Voce di Primavella. If it were not for your help, the 45-minutes the first and the last performance was not successful. Than you so much!
Pianist: KOBAYASHI Chie
Vice conductor: KOBAYASHI Yasuhiro Mixed chorus: Voce di Primevella, made up by 33 students of The Special music teacher training course, Tokuon, of Yamagata National University.

5 "Moum to Honma Masao for violoncello without accompaniment" _ work No.33

At the first performance of the revised edition in Tokyo, I got bravo from audience, and I was asked for a handshake on the way to my seat after the composers presentation.
As well as that, when I went the backstage, my fellow composers quickly approached me and told me their impressions. They said, “Great You really write well for the violoncello! You have to do more presentations because surely this work represents the best Japanese solo Vc.”
Anyway, this success (especially the Sendai premier )was thanks to the hard work of Mrs. YASHIMA Tamako, Otama-chan, a member of the Sendai Philharmonic Orchestra. Normally, in Japan, we can rehearse only once or twice even though we have the score in advance.
But she gave me enough time to arrange the score and we worked together about 4-5 times because she hadn’t ever performed the modern music by herself. I also remember a heartwarming scene when her husband, a harpsichord maker, gave her great advice about acoustics at a rehearsal.


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