Sound Drawing Project

サウンド ドローイング プロジェクト

楽器製作:東京芸術大学 ファクトリーラボ(代表:三枝一将) <<<<

Kiyoshi Furukawa, Haruyuki Fujii, Kazushi Mogi
Japan Science and Technology Agency
Program name: Area Pioneering Program
Research title: Resonant space, Excited sense of beauty
Implementing institution: Tokyo University of the Arts(national university corporation)
Production of musical instruments: GEIDAI FACTORY LAB, Tokyo University of the Arts (representative: Kazumasa Saegusa) <<<<

ワークショップ ドキュメントビデオ

Project outline
Implementation plan
Preparatory experiments
About the instruments
Preparation of the workshop
Workshop (Oct. 27th, 2018)
Workshop documentary video



Project: Sound Drawing Project
Kiyoshi Furukawa, Haruyuki Fujii, Kazushi Mogi

In 2011, we have conducted a joint research regarding the development of “spatial drawing”, which participants can draw (“figurations”) with the sound (instrument) in an indoor space. This project progresses the research even further to a larger outdoor space, for example, a space of Japanese gardens, a space in a metropolis, or a natural space, and promotes a contradistinctive “figurations” resulting by the participation of many people and their sounds (sounds source). In other words, we aim to set opposing “figures” created by sounds in an existing space with a distinct aesthetical appearance, and explore the formation of a new aesthetical orientation born from the affirmative resonance, tension, and collision between the “figures” and the existing space.
This project will be carried out in the form a workshop, including public participants. In the fluctuating relationships between the participants, the existing space, and the newly created “figures”, and through discussion, mutual experience, and joint production, we aim to uncover diverse aspects, beauty, and meaning in both academic and expressive terms.



これまでは最大10メートル四方程度の室内空間で空間音描画を行ってきたが、ワークショップで想定する空間(例えば池泉回遊式庭園)は全体を使うわけではないにしろ最大100メートル四方程度の空間であり、空間音描画が機能するためには、音色(雑音成分が多いほど音の定位はよいが音色としての魅力が減る)、音量、余韻、直接音/間接音のバランス、音と音の間の間隔、地理的要素、視覚的要素、etc. など複雑な要因がからみ、十分な調査、実験が必要となる。実験段階では多数の学生たちを使った条件、楽器の最適化のための野外実験を、大学キャンパス内外でおこなう。制作実験及びに最終形の制作はファクトリーラボ(東京芸術大学、取手キャンパス)に依頼する。



[Project Implementation Plan]
The project orbits around the subjects underlying in the processes of executing workshops; the consolidation of cognition of spatial composition and the cognition of the sound structures, designing and executing workshops based on the hypothesis of the aesthetical experiences described above, and it’s inspection and modification. The plan can be summed down to three components described below:
1) Adjustment of mechanism for spatial sound etching, and the production of the instrument relating to the project
We have so far conducted our spatial sound etching in an indoor space in an area no larger than ten-meters squared. However, we assume our space to conduct the workshop (e.g. the Chisen-Kaiyushiki-Teien) to be a space of a hundred meters squared, although the usage of the full capacity of the space is unanticipated. For the spatial sound etching to function, we must recognize the timbre (the more noise contained in the timbre creates better sonic orientation, however, decreases the charm as a textural timbre), dynamics, resonance, the balance between direct and indirect sounds, the space between sounds, geographical condition, visual element, among others, complexly intertwine. Therefore, we must execute a thorough research and experimentation on these matters. During our test stage, we will use the university campus facilities as well as public facilities, use numbers of students for a study of the experimental conditions, and hold outdoor experiments for the optimization of the instruments. We will request Factory Lab (Tokyo University of the Arts, Toride Campus) for the production of subjects at the experimentation stages, as well as the final form of our production.
2) Operation on bridging the spatial cognition and the sound cognition to formulate as an aesthetical experience
We will create a hypothetical model on connecting the space of the garden and the structure of music in the cognitive level. After a thorough examination, we will conduct a partial computer simulation.
3) Preparation of the workshop and it’s implementation (This will be shown in a separate plan)


Preparatory experiments

実験報告1 (2017年11月30日@東京芸術大学上野キャンパス)
Test report 1 (November 30th, 2017 at Ueno Campus, Tokyo University of the Arts)

実験報告2 (2018年1月19日@東京芸術大学取手キャンパス)
Test report 2 (January 19th, 2018 at Toride Campus, Tokyo University of the Arts)

実験報告3 (2018年2月20日@東京芸術大学取手キャンパス)
Test report 3 (February 20th, 2018 at Toride Campus, Tokyo University of the Arts)


About the instruments




3)現在のセットは  低いDo(ca. 130Hz.), 低いSol (ca. 195Hz.), Do(ca261Hz.),Re(ca. 293Hz.),Mi(ca. 329Hz.),Sol (ca. 391Hz.), La(ca. 440Hz.)を2セット、それにSol (ca. 391Hz.)を6個追加し8人のパフォーマーを想定しています。

The special instruments as the starting point of this project were produced by Koji Nagao of the Metalworking Workshop Machine Lab, after much experimentation of such as materials, shape and size by Saegusa Kazumasa of Geidai Factory Lab and Furukawa Lab. These instruments are based on the Tuning fork type plane wave instrument which was contrived by Marti Ruiz of the University of Barcelona, who came to Tokyo University of the Arts for the Restoration Project of Baschet Sound Sculpture. (
1) The characteristic is that collecting the energy of vibration onto the side of the instrument, making the two arms resonate and further strengthening produces a highly directional sound like a beam. In this performance, we could hear the sound clearly from 150 meters away .
2) Due to the directivity, a significant timbre change can be produced by changing the angle of the instrument or rotating it.
3) The present sets consist of two sets of low Do (ca. 130 Hz.), low Sol (ca. 195 Hz.), Do (ca 261 Hz.), Re (ca. 293 Hz.), Mi (ca. 329 Hz.), Sol (ca. 391 Hz.), La (ca. 440 Hz.) and six pieces of Sol (ca. 391 Hz.) are added, and eight performers are expected to play the instruments.

Set of Tuning fork type flat instruments


The instruments are under development for this project, designed and cast by Kazumasa Saegusa of the Factory Lab. Experimented with metal formulations and types, the present instruments include three iron balls which give different timbres. This time, these were adopted in a part of the performance, and using them outside allowed us to see the direction of the development.

Bell-shaped instruments


In the performance, wooden hammer Tuning fork type flat instruments were played, and Bell-shaped instruments were played as shaken by hand. Each of the eight performers was given a transceiver with earphones and instructions through it. The performers wore pink jackets for the visibility in the open air.


Preparation of the workshop


On September 3rd (Mon.), Furukawa, Kawasaki and Ushijima made a preliminary inspection to prepare for the workshop on October 27th, and roughly selected locations and conducted tests using the instruments.
The tests were conducted at the following four places.

Location: Dam embankment
The Tuning fork type instruments could be heard from quite a distance.
Moving the instruments and linear arrangement of multiple instruments may be interesting.
The bell instruments sounded relatively mediocre here.

Location: Trident maple grove
The trees functioned like filters, and the low-pitched Tuning fork type instruments sounded interesting in this place where sound waves sounded as if they crept among the trees.

Location: Pond
The sound were heard clearly even at a long distance. Vibrato was applied to the sound. We could hear even the low-pitched sound.

Location: Open space and big trees, small hill, ups and downs that spread behind the space
When we moved around, various filters specific to the place were produced and we found it interesting.


Preliminary meeting on September 3rd


サウンド ドローイング プロジェクト


Workshop (October 27th, 2018 )



1) 概要
2) 当日の進行
3) パフォーマンス1  宅部池
4) パフォーマンス2  多摩湖堤防
5) パフォーマンス3  トウカエデの林
6) パフォーマンス4  太陽広場
7) 終了後のディスカッション1
8) 記録、その他
9) 参加者などのデータ

The workshop was held in the Tokyo Metropolitan Sayama Park adjacent to Tokyo Sayama hills, dotted with Totoro forest, and Lake Tama in the lushly green Northern Tama area. As this was the first workshop, various methods were tried in anticipation of the development of future workshops.

The sound drawing workshop was held.
1) Overview
2) Progress of the day
3) Performance 1 Yakebeike pond
4) Performance 2 Lake Tama embankment
5) Performance 3 Trident maple grove
6) Performance 4 Sunny Meadow
7) Discussion 1 after the workshop
8) Recording, others
9) Data (participants etc.)


① 宅部池 ②多摩湖堤防 ③トウカエデの林 ④太陽広場

1) Overview:
The workshop was held in the Tokyo Metropolitan Sayama Park adjacent to Tokyo Sayama hills, dotted with Totoro forest, and Lake Tama in the lushly green Northern Tama area. As this was the first workshop, various methods were tried in anticipation of the development of future workshops.
The participants mainly included students of Tokyo University of the Arts and Gunma University.
The following four locations in the park were chosen, and the sound-shaped design was performed there.
①Yakebeike pond ②Lake Tama embankment ③Trident maple grove ④Sunny Meadow


08時30分 集合(西武園駅)
09時 00分 狭山公園に関するレクチャーを受ける(公園のなかを歩き回る)
10時30分 ミーティング、プランの説明、検討
11時00分 小休止、食事
11時30分 プラン1、堤防で実施、撮影録音
12時15分 プラン2 池の周りで実施、撮影録音
13時00分 プラン3 森で実施、実施、撮影録音
13時45分 プラン4 広場で実施、撮影録音
15時00分 撮影終了、片付け  学生は解散
15時20分 全体ミーティング
16時00分 研究チーム:研究ミーティング
18時00分 全体解散

2) Progress of the day
08:30 Meeting (Seibuen Station)
09:00 Take a lecture on the Sayama Park (walk around in the park)
(Lecturer: Mr. Sugiyama, Park Ranger of the Sayama Park)
10:30 Meeting, explanation of the plan, examination
11:00 Short break, meal
11:30 Plan 1 Implementation on the embankment, recording
12:15 Plan 2 Implementation around the pond, recording
13:00 Plan 3 Implementation in the forest, recording
13:45 Plan 4 Implementation in the open space, recording
15:00 Finish the shooting, tidy up, Students breakup
15:20 General meeting
16:00 Research team: Research meeting
18:00 Close the workshop

3)パフォーマンス1  宅部池


3) Performance 1 Yakebeike pond
Yakebeike Pond is a small pond adjacent to the forest. It is called Tatchan Pond, a pond made of spring water from hills before Lake Tama was made or flowing water from Lake Tama.
With eight performers appearing and disappearing on the shore of this pond, the performance, the addition of the sound shape to this landscape, was conducted.


The performance was done from the shore to the other side. The sound of the instruments was reflected on the water surface with the trees in the forest as a filter and changed to a unique tone, creating a soft space united with the landscape.

4)パフォーマンス2  多摩湖堤防


4) Performance 2 Lake Tama embankment
The performers were placed every 18 meters on the Lake Tama embankment, and lines of the sound were drawn in this large space.The expanse of the space, which was created by the instruments that sounded clearly even more than 150 meters away, was overwhelming


The sound was united with the scenery of the Sayama hills, and people who visited the park were listening it for a while.


The instrumental sound was directed toward 150 meters ahead under the embankment. The sound energies of the instruments were collected laterally and could be heard clearly even from 150 meters away.

5)パフォーマンス3  トウカエデの林


5) Performance 3 Trident maple grove
We arranged eight performers in the Trident maple grove. Here, the sound had unique shadows due to the filtering of the tree leaves, the shielding and the reflection by the trunks.


Moving around in the space, the shadows of the sound changed in various ways, and together with the shadows of the forest created by sunlight through the trees, a unique landscape appeared.


When we formed a queue and moved while repeating the sound pattern, the sound shape moved in the landscape.

6)パフォーマンス4  太陽広場


6) Performance 4 Sunny Meadow
Eight performers were placed in a large open space with a forest background, and we watched their performance from about 80 meters away.


The sound went straight as there was nothing to block the sound in the open space. The forest behind the space absorbed the sound so that we could hear the sound shape clearly even from a long distance.


When we walked around while playing in a large space, we could feel the movement of the large space due to the difference of distance and the change of the instruments direction.



7) Recording, others
The recording was taken charge of the team of sound artist Yoshihiro Kawasaki and the shooting was done with five cameras including a 360° camera.


The performers (players of the musical instruments) wore pink coats to clarify the visual positions in the landscape.



8) Discussion after the performance
We had a discussion after all performance. There were comments from all the participants.
(The details of the contents will be announced later.)


日時:2018年10月27日 9時~16時
布谷麻衣、元岡奈央 、荒川弘憲、川本杜彦

9) Data (participants etc.)
Date: October 27th, 2018 9:00-16:00
Research staff:
Kiyoshi Furukawa (Tokyo University of the Arts), Haruyuki Fujii (Tokyo Institute of Technology), Kazushi Mogi (Gunma University), Kazumasa Saegusa (Tokyo University of the Arts), Hidenori Sonobe (Tokyo University of the Arts), Yoshihiro Kawasaki (Tokyo University of the Arts), Daigo Ushijima (Tokyo University of the Arts), Atsuko Kusano (Tokyo University of the Arts)
Shooting and recording staff: Yoshihiro Kawasaki, Syun Tachizono, Wang Yang, Tomomi Morita,
Kanan Sugiyama
Performance and others:
Students of Tokyo University of the Arts
Haiji Tsukamoto, Chiho Okuno, Syunto Yokoi, Hanano Maruyama,
Mai Nunoya, Nao Motooka, Koken Arakawa, Morihiko Kawamoto
Gunma University
Hiroshi Suminaka, Kumiko Oda, Chie Kajiwara

ワークショップ ドキュメントビデオ

Workshop documentary video

Sound drawing workshop 27/10/2018 @Tokyo Metropolitan Park in Sayama