Papers - NAKAGAWA Katsushi
about 54-
Music and Visual Art: An Essay: Three Turning Points
NAKAGAWA Katsushi
Kansai Journal of Aesthetics and Musicology 9 2 - 20 2025.3 [Invited]
Authorship：Lead author Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Single Work
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An Introduction to Music Epistemology: Exploring the Boundaries of Sound and Music since John Cage
NAKAGAWA Katsushi
Tokiwadai journal of human sciences 11 ( 1 ) 107 - 123 2025.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University Faculty of Urban Innovation Single Work
(Due to lack of space, only the first half of this paper will be published here. The latter half will be published in the next volume. However, the abstract below is an abstract of the entire paper.)
This article delves into the history and mechanics of establishing the boundaries between sound and music following the 'revolution' initiated by John Cage in the 1950s, when John Cage introduced the notion of omnipotence in dealing with all kinds of sounds within musical activities. To scrutinize these boundaries, this article assesses John Cage's contributions and emphasizes that the axis Cage set as 'all sounds can be music' has been commonly interpreted as 'all sound is music.' As a case in point, this article provides an overview of three movements in the 1970s that incorporated environmental sounds into the realm of music. The influence of Cage not only garnered supporters but also opponents. The opponents can be divided into two factions. One sought to safeguard the traditional domain of music and exclude Cagean experimental music activities from it (Chris Cutler), while the other aimed to establish art of sound (or sound art) as a distinct field and exclude Cagean activities from sound art (Dan Lander). The underlying concept in operation here can be termed the 'Musicalization of sound.'
This article scrutinizes the cognitive framework governing the relationship between the acoustic continuum and Cagean experimental music. It aspires to position this discourse within a historical context and convey the message that it is time to finish discussions concerning the boundary between sound and music. Instead, we should foster fresh practices and dialogues that transcend these boundaries. -
An Introduction to Music Epistemology: Exploring the Boundaries of Sound and Music since John Cage
NAKAGAWA Katsushi
Tokiwadai journal of human sciences 10 ( 1 ) 145 - 160 2024.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University Faculty of Urban Innovation Single Work
(Due to lack of space, only the first half of this paper will be published here. The latter half will be published in the next volume. However, the abstract below is an abstract of the entire paper.)
This article delves into the history and mechanics of establishing the boundaries between sound and music following the 'revolution' initiated by John Cage in the 1950s, when John Cage introduced the notion of omnipotence in dealing with all kinds of sounds within musical activities. To scrutinize these boundaries, this article assesses John Cage's contributions and emphasizes that the axis Cage set as 'all sounds can be music' has been commonly interpreted as 'all sound is music.' As a case in point, this article provides an overview of three movements in the 1970s that incorporated environmental sounds into the realm of music. The influence of Cage not only garnered supporters but also opponents. The opponents can be divided into two factions. One sought to safeguard the traditional domain of music and exclude Cagean experimental music activities from it (Chris Cutler), while the other aimed to establish art of sound (or sound art) as a distinct field and exclude Cagean activities from sound art (Dan Lander). The underlying concept in operation here can be termed the 'Musicalization of sound.'
This article scrutinizes the cognitive framework governing the relationship between the acoustic continuum and Cagean experimental music. It aspires to position this discourse within a historical context and convey the message that it is time to finish discussions concerning the boundary between sound and music. Instead, we should foster fresh practices and dialogues that transcend these boundaries. -
Study on the Genealogy on Sound Art in Japan: Focusing on the Case of Kyoto International Contemporary Music Forum (1989-1996)
11 44 - 53 2024
Language：The in addition, foreign language Publishing type：Research paper (scientific journal) Single Work
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日本におけるサウンド・アートの系譜学：神戸ジーベックホール（1989-1999）をめぐって：その1――『Sound Arts』誌（1992-1998）の場合――
中川 克志
京都国立近代美術館研究論集 CROSS SECTIONS 11 44 - 53 2024
Language：The in addition, foreign language Publishing type：Research paper (scientific journal) Single Work
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NAKAGAWA Katsushi
Tokiwadai journal of human sciences 9 ( 1 ) 75 - 91 2023.3
Language：English Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University Faculty of Urban Innovation Single Work
In this paper, I examine the process of the popularization of Brian Eno between the latter 1970s and the early 1980s in Japan, and discuss the discourses of the journal of Rock Magazine (precisely speaking, AGI Yuzuru) and Bijutsu Techo. This paper would be a case study because I could not reach some groundbreaking findings about the process of the popularization of Kankyō Ongaku in the 1980s Japan. Further research on the formation process of Kankyō Ongaku in the 1980s is still needed, which this paper must contribute to, including the comparison between Kankyō Ongaku in the 1980s and the ambient music by HOSONO Haruomi in the 1990s, the formation of the reevaluation of Kankyō Ongaku in the 2010s, the comparison between Kankyō Ongaku in 1980s and in 2010s, and so on.
This paper is based on my presentation which I did on the occasion of the 21st annual meeting of International Association for the Study of Popular Music held at Daegu in Korea and online. My presentation was titled "Kankyō Ongaku: How Brian Eno's ambient music has become known in 1980s Japan?” at Session 4-4, which was held during 1330-1400 on July, 6th, 2022 (see program here: http://iaspm2022.org/index.php?gt=pro/pro02). This presentation and this paper were conceived as a continuation project of my earlier research which was published as NAKAGAWA 2019. -
中川克志
東京都現代美術館（編） 2022 『クリスチャン・マークレー：トランスレーティング[翻訳する]』（東京都現代美術館、2021年11月20日-2022年2月23日） 展覧会図録 東京：左右社 182 - 190 2022.4 [Invited]
Language：Japanese Publishing type：Research paper (scientific journal) Publisher：左右社 Single Work
Other Link： https://iss.ndl.go.jp/books/R100000002-I032064084-00
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Study on the Genealogy on Sound Art in Japan: Focusing on the Case of Kyoto International Contemporary Music Forum (1989-1996)
NAKAGAWA Katsushi
CROSS SECTIONS 10 48 - 58 2022.3
Authorship：Lead author, Last author, Corresponding author Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：The National Museum of Modern Art, Kyoto Single Work
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NAKAGAWA Katsushi
Tokiwadai journal of human sciences 8 ( 1 ) 73 - 99 2022.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University Faculty of Urban Innovation Single Work
This article has two objectives: to trace the historical development of sound sculpture and to suggest a hypothesis about using the term 'sound sculpture' and 'sound art.' For the first objective, this paper refers to some resources to describe the sound sculpture's developmental history. This part will contribute to the future discussion about the History of Sound in the Arts. For the second objective, this paper explores the exhibition Sound/Art (1984). Moreover, this part examines the related documents such as a press release, the statement in the exhibition catalog, and some news-clippings. By doing so, this part suggests the hypothesis about the usage of the term 'sound sculpture' and 'sound art,' which argues that 'sound sculpture' has become a sub-category of 'Sound Art.'
This article is part of my research on the situation around Sound in the Arts, mainly in New York City during the 1980s. I have done another research around that topic and made an oral presentation at The annual meeting of The Japanese Society for Aesthetics (online) on October 3rd, 2020, which I plan to publish as an academic article shortly. -
日本におけるサウンド・アートの系譜学 : 京都国際現代音楽フォーラム(1989-1996)をめぐって
中川 克志
Cross sections : 京都国立近代美術館研究論集 10 48 - 58 2022
Language：The in addition, foreign language Publishing type：Research paper (scientific journal) Single Work
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中川克志
サウンド＆アート展 見る音楽、聴く形廣川暁生、明石薫（編） 2021 『サウンド＆アート展 見る音楽、聴く形』 「サウンド＆アート」展図録（アーツ千代田3331、2021年11月5日-21日） 東京：クリエイティヴ・アート実行委員会2021 2021.11 [Invited]
Language：Japanese Publishing type：Research paper (other science council materials etc.) Single Work
Other Link： https://iss.ndl.go.jp/books/R100000002-I031796937-00
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日本における〈音のある芸術の歴史〉を目指して――1950-90年代の雑誌『美術手帖』を中心に――
中川克志
細川周平（編）『音と耳から考える：歴史・身体・テクノロジー』（アルテスパブリッシング） 2021.10
Language：Japanese Publishing type：Research paper (scientific journal) Publisher：アルテスパブリッシング Single Work
Other Link： https://artespublishing.com/shop/books/86559-240-5/
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History of Sound in the Arts in Japan Between the 1960s and 1990s
NAKAGAWA katsushi
Charrieras D., Mouillot F. (eds) Fractured Scenes. 2021.3 [Reviewed] [Invited]
Language：English Publishing type：Research paper (other science council materials etc.) Publisher：Palgrave Macmillan Single Work
This chapter is a portion of the author’s ongoing study on the history of “sound art” in Japan. He aims to introduce the reader to a provisional history of sound in the arts in Japan between the 1960s and 1990s. This history has remained mostly unexplored, and the present chapter explores the contributions of Atsuko Tanaka, Group Ongaku (Takehisa Kosugi, Yasunao Tone, et al.), environmental art in the 1960s Japan, proto sound art exhibitions (Keijiro Sato, Toshi Ichiyanagi, et al.), Post Mono-ha artists, Kazumichi Fujiwara, Space in the Sun by Akio Suzuki, Kankyō Ongaku in the 1980s Japan (Satoshi Ashikawa. Hiroshi Yoshimura, et al.), and the exhibition series Sound Garden, Yukio Fujimoto.
Other Link： https://link.springer.com/chapter/10.1007/978-981-15-5913-6_16
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The Preparatory Research on Sound Art in Taiwan: The Case of WANG Fujui
NAKAGAWA Katsushi
Tokiwadai journal of human sciences 7 ( 1 ) 157 - 181 2021.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University Faculty of Urban Innovation Single Work
This paper reviews the development of "sound art" in Taiwan and examines its characteristics. It does not attempt to define the nature of sound art in Taiwan but outlines the discourses around the term, examines WANG Fujui, one of its pioneers, and compares his case with other cases to discuss the characteristics of "sound art in Taiwan." This study is based on some previous studies and interviews with artists. I hope that future comparisons with the Western and Japanese contexts of sound art (both the term and the work) will help to elucidate the transnational dynamics that have shaped contemporary art and sound art in Asia, as well as the cultural mechanisms of Westernization and modernization.
This article is based on the oral presentation manuscript of an alternative presentation at the 4th Annual Eastern Meeting of The Japanese Society for Aesthetics in December 2019. The article has some modifications based on the questions and answers that followed the oral presentation and some addition that was deleted at the oral presentation due to time constraints (an overview of Wang Fujui in Chapter 4, examples except Nigel and Alice in Chapter 5). This article is a part of my research project, "Establishment of a foundation for sound art research based on East Asian examples." -
創作楽器という問題
中川 克志
廣川暁生、明石薫（編） 2021 『サウンド＆アート展 見る音楽、聴く形』 「サウンド＆アート」展図録（アーツ千代田3331、2021年11月5日-21日） 東京：クリエイティヴ・アート実行委員会2021 1 34 - 36 2021
Language：The in addition, foreign language Publishing type：Research paper (scientific journal) Single Work
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How to Explore Sound Installation: Four Focuses You Can Use When Examining Sound Installation Works.
NAKAGAWA Katsushi
19 83 - 91 2020.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Single Work
Other Link： http://harp.lib.hiroshima-u.ac.jp/onomichi-u/metadata/13911
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How to Explore Sound Installation: Four Focuses You Can Use When Examining Sound Installation Works.
NAKAGAWA Katsushi
Tokiwadai journal of human sciences 6 ( 1 ) 63 - 99 2020.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University Faculty of Urban Innovation Single Work
This article proposes four focuses that we can use when thinking about sound installation: 1. The installed situation, 2. The sonic aspect, 3. The visual aspect, 4. The relation with the viewer/auditor. One of the virtues of this article would be plenty of descriptions of sound installation works with the emphasis on these four focuses. I assume these focuses not as `requirements or sufficient conditions for sound installation' but as `comparative factors with which we can use to compare one sound installation work with another.'
I have derived these four focuses mostly empirically and less based on the theoretical or organized perspective partly because I cannot find any previous research in a similar direction. I welcome any suggestion and critique in this article, which will contribute to the article on the genre Sound Art which I plan to make in the future.
This is the former half of the article about sound installation. I have written the original article above the required number of characters so that I needed to divide it into two parts for publication. This former part deals with 1 and 2. The latter half is to appear in the journal of Bulletin of Onomichi City University Faculty of Artistic Culture, vol. 19 in 2020. -
サウンド・インスタレーション試論――音響芸術における歴史的かつ理論的背景――
中川克志
横浜国立大学 教育学部 紀要 II.人文科学 22 57 - 73 2020.2
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：横浜国立大学教育学部 Single Work
以下では、まず、先行研究を整理しつつ、サウンド・インスタレーションが登場するに至った歴史的経緯を音響芸術の文脈を中心に整理し、次に、クリストフ・コックス（Christoph Cox）の著作『音の地層：音、芸術、形而上学（Sonic Flux: Sound, Art, and Metaphysics）』（Cox2018）を参照しつつ、その理論的意義を音響芸術の文脈のなかで理解し、サウンド・インスタレーションの今日的意義であると私が考えるものについて言及する。
Other Link： http://doi.org/10.18880/00013164
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Why did the composer begin to make visual art?: The ambient music and sound art of YOSHIMURA Hiroshi
NAKAGAWA Katsushi
Proceedings (CD-ROM) of the 21st INTERNATIONAL CONGRESS OF AESTHETICS 2019.7 [Reviewed]
Language：English Publishing type：Research paper (international conference proceedings) Publisher：Faculty of Architecture, Belgrade, Serbia Single Work
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サウンド・アートの系譜学─台湾におけるサウンド・アート研究序論その2
中川 克志
常盤台人間文化論叢 5 ( 1 ) 51 - 69 2019.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：横浜国立大学都市イノベーション研究院 Single Work
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Environmental music in the field of popular music: The case of 1980s Japan.
NAKAGAWA Katsushi
Journal of the College of Education, Yokohama National University. The humanities 21 32 - 44 2019.2
Language：English Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University College of Education Single Work
This brief reflection is based on my oral presentation entitled as “Environmental music in the field of popular music: The case of 1980s Japan," which I delivered on June 17th, 2018 at the 6th Inter-Asia Popular Music Studies Conference at Communication University of China, Beijing, China. Although this reflection has a lot of weaknesses, some of which were flagged up during a panel discussion (panel 5. Japanese Pasts) with Hiroshi Ogawa (Chair), Kouki Shibadai, and Sota Takahashi, I am making this presentation public in order to contribute to the future discussions among scholars and practitioners in this field. The following is a modified version of that presentation, added with notes, the section omitted at the oral presentation, and a bibliography.
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A Brief Consideration About the Relationship Between Sound Art and Tactile Sense.
Katsushi Nakagawa
Computational Aesthetics. SpringerBriefs in Applied Sciences and Technology. 53 - 65 2018.9
Language：English Publishing type：Research paper (scientific journal) Publisher：Springer, Tokyo Single Work
Other Link： https://link.springer.com/chapter/10.1007/978-4-431-56844-5_4
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サウンド・アートの系譜学：台湾におけるサウンド・アート研究序論
中川 克志
常盤台人間文化論叢 4 ( 1 ) 115 - 126 2018.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：横浜国立大学都市イノベーション研究院 Single Work
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The Possible Context of Sound Art in Japan in the late 1980s: The Case of Creative Music Making.
NAKAGAWA Katsushi
Journal of the College of Education, Yokohama National University. The humanities 1 18 - 35 2018.2
Language：English Publishing type：Research paper (scientific journal) Publisher：Yokohama National University College of Education Single Work
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NAKAGAWA Katsushi,KANEKO Tomotaro
Leonardo Music Journal 27 82 - 86 2017.12
Language：English Publishing type：Research paper (scientific journal) Publisher：The MIT Press Joint Work
Other Link： https://www.mitpressjournals.org/doi/abs/10.1162/LMJ_a_01024
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Some of the Contexts of Sound Art in Japan in the late 1980s: `Ethnomusicology' and `Creative Music Making and the Soundscape'
NAKAGAWA Katsushi
Transactions of Kokugakuin University 55 41 - 64 2017 [Reviewed]
Language：English Publishing type：Research paper (scientific journal) Publisher：Kokugakuin University Single Work
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The Development of Sound Art in Japan : Some Contexts around 'On-Gu (Sound Object) in the 1980s'
NAKAGAWA Katsushi,KANEKO Tomotaro
CROSS SECTIONS 8 36 - 47 2017
Language：English Publishing type：Research paper (scientific journal) Publisher：The National Museum of Modern Art, Kyoto Joint Work
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Research on the Developments of Sound Art in Asian Countries: On Sound Effects Seoul series (Interviews with Ji-Yoon Yang and Chulki Hong).
KANEKO Tomotaro, NAKAGAWA Katsushi
Tokiwadai Journal of Human Sciences 3 161 - 173 2017
Language：English Publishing type：Research paper (scientific journal) Publisher：Yokohama National University,Faculty of Urban Innovation Joint Work
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Research on the Development of Sound Art in Asian Countries-Interview with Ms. Yeung, Yang
NAKAGAWA Katsushi,KANEKO Tomotaro
Tokiwadai Journal of Human Sciences 2 80 - 91 2016.3
Language：English Publishing type：Research paper (bulletin of university, research institution) Publisher：Yokohama National University,Faculty of Urban Innovation Joint Work
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The Possible Context of "Sound Art" in Japan in the late 1980s: Ethnomusicology.
NAKAGAWA Katsushi
The Proceeding of ICA20 "Aesthetics and Mass Culture" published by 2016 ICA Secretariat 794 - 799 2016
Language：English Publishing type：Research paper (scientific journal) Publisher：Department of Aesthetics, Seoul National University,Seoul Korea Single Work
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The Development of Sound Art in Japan - The Development of Sound Art in Japan - The Post-Genre in Studio 200, and Sound Art in Japan
KANEKO Tomotaro,NAKAGAWA Katsushi
CROSS SECTIONS 7 56 - 62 2015.9
Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：The National Museum of Modern Art, Kyoto Joint Work
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松本秋則作品分類試論：「松本秋則～Bamboo Phonon Garden～」をめぐって
中川 克志
常盤台人間文化論叢 ( 1 ) 92 - 102 2015.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：横浜国立大学都市イノベーション研究院 Single Work
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「訳者解説――音響研究の基盤の形成」 ジョナサン・スターン 2015（2003） 『聞こえくる過去：音響再生産の文化的起源』
中川克志・金子智太郎・谷口文和
449 - 472 2015
Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：インスクリプト Joint Work
「訳者解説：補遺」をウェブにて公開：http://soundstudies.jp/category/the-audible-past/c/
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The Development of Sound Art in Japan - Two Exhibitions of 'Sound Art' in the latter half of 1980s: "moments sonores" at Tochigi Prefectural Museum of Fine Arts in 1989, and "Discovery of Modeling: in the Case of Sound" at National Children's Castle in 1986 and 1987
NAKAGAWA Katsushi,KANEKO Tomotaro
CROSS SECTIONS 6 66 - 73 2014.3
Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：The National Museum of Modern Art, Kyoto Joint Work
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The Development of Sound Art in Japan : Around the Beginning of Sound Garden (1987-94)
KANEKO Tomotaro,NAKAGAWA Katsushi
CROSS SECTIONS 5 44 - 52 2013.3
Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：The National Museum of Modern Art, Kyoto Joint Work
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The Educational Use of Phonograph in Japan during Taisho Period : ONGAKU to CHIKUONKI and NIHON CHIKUONKI KYOUKAI (the Japanese Society of Educational Phonograph)
NAKAGAWA Katsushi
283 - 308 2013.3
Language：Japanese Publishing type：Research paper (other science council materials etc.) Single Work
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The Development of Sound Art in Japan : Sound Garden (1987-94) and the classification of Sound Art by YOSHIMURA Hiroshi
NAKAGAWA Katsushi,KANEKO Tomotaro
CROSS SECTIONS 4 56 - 61 2012.2
Language：Japanese Publishing type：Research paper (scientific journal) Publisher：The National Museum of Modern Art, Kyoto Joint Work
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An Attempt at Interpretation of Christian Marclay as a Musician - Compared with John Cage.
NAKAGAWA Katsushi
Bulletin of the School of Literature, Arts and Cultural Studies, Kinki University 22 ( 2 ) 107 - 130 2011.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kinki University. School of Literature, Arts and Cultural Studies Single Work
Other Link： http://id.nii.ac.jp/1391/00007907/
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即興演奏と創造性：ケージの場合
中川克志
音楽教育学 41 ( 2 ) 91 - 92 2011
Language：Japanese Publishing type：Research paper (other science council materials etc.) Single Work
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The Acceptance of Experimental Musical Instruments by John Cage and SUZUKI, Akio
NAKAGAWA Katsushi
Bulletin of the School of Literature, Arts and Cultural Studies, Kinki University 23 ( 1 ) 99 - 113 2011
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kinki University Single Work
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An Attempt at Interpretation of Christian Marclay - Listening by Means of Seeing
NAKAGAWA Katsushi
CROSS SECTIONS ( 3 ) 32 - 43 2010.12 [Reviewed]
Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：National Museum of Modern Art, Kyoto Single Work
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The Logic to Relativize John Cage in the 1950s : On the Problems of Cagean `Experimental Music'
NAKAGAWA Katsushi
Journal of Kyoto Seika University ( 37 ) 3 - 22 2010.9 [Reviewed]
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kyoto Seika University Single Work
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What is 'sounds which are just sounds'? : On the Acceptance of John Cage's Indeterminate Musical Works
NAKAGAWA Katsushi
The Japanese society for aesthetics ( 14 ) 42 - 54 2010.4 [Reviewed]
Language：English Publishing type：Research paper (other science council materials etc.) Single Work
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Origin of Sound Recording Technology - The Phonautograph as Both a Consequence and an Origin
NAKAGAWA Katsushi
Journal of Kyoto Seika University ( 36 ) 1 - 20 2010.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kyoto Seika University Single Work
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NAKAGAWA Katsushi
Bulletin of the School of Literature, Arts and Cultural Studies, Kinki University 21 ( 2 ) 210 - 236 2010
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kinki University. School of Literature, Arts and Cultural Studies Single Work
Other Link： http://id.nii.ac.jp/1391/00007880/
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The multi-stratified electronic music in the magazine "Ongaku Geijutsu": when "Live Electronics" was imported in the 1960s
NAKAGAWA Katsushi
Genesis ( 14 ) 99 - 109 2009.10 [Reviewed]
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kyoto University of Art and Design Single Work
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聴くこととしての音楽―ジョン・ケージ以降のアメリカ実験音楽研究
中川克志
博士論文 京都大学大学院文学研究科 2008.3
Language：Japanese Publishing type：Research paper (other science council materials etc.) Single Work
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What are the `sounds which are just sounds' ?
NAKAGAWA Katsushi
Kenkyukiyo ( 52 ) 35 - 45 2008.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Faculty of Fine Arts, Kyoto City University of Arts. Single Work
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The Musicalization of Noise - the Sound of Prepared Piano.
NAKAGAWA Katsushi
Kyoto studies in aesthetics and art history ( 6 ) 67 - 93 2007 [Reviewed]
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kyoto University Single Work
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Listening as a mean for the production of sound: a study of La Monte Young's word pieces
NAKAGAWA Katsushi
The Japanese society for aesthetics ( 12 ) 121 - 132 2006.3 [Reviewed]
Language：English Publishing type：Research paper (other science council materials etc.) Single Work
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On Kosugi Takehisa's 'Catch Wave'
NAKAGAWA Katsushi, SASAKI Ken-ichi, and OTABE Tanehisa
The 15th International Congress of Aesthetics, Japan 2001, Proceedings 2003
Language：English Publishing type：Research paper (international conference proceedings) Publisher：Institute of Aesthetics and Philosophy of Art, Faculty of Letters, the University of Tokyo Joint Work
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Listening as a means for the production of sound: a study of La Monte Young's word pieces
NAKAGAWA Katsushi
BIGAKU 53 ( 2 ) 66 - 78 2002.9 [Reviewed]
Language：Japanese Publishing type：Research paper (other science council materials etc.) Publisher：Bigakukai Single Work
Other Link： https://www.jstage.jst.go.jp/article/bigaku/53/2/53_KJ00003904374/_article/-char/ja/
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John Cage - Listening to the Sound of the Environment.
NAKAGAWA Katsushi
Studies in aesthetics and art history ( 22 ) 125 - 153 2001.3
Language：Japanese Publishing type：Research paper (bulletin of university, research institution) Publisher：Kyoto University Single Work
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スティーヴ・ライヒにおけるミニマリズムについて ―初期作品の考察
中川克志
修士論文 京都大学大学院文学研究科 2000.3
Language：Japanese Publishing type：Research paper (other science council materials etc.) Single Work