Over twenty years ago, I was told it was necessary for me to write this book. As time passed, I began to feel guilty about my lack of motivation. This is a feeble excuse, but while I was involved with the Pro Musica Nipponia after its establishment in 1964, I was completely absorbed in expanding the repertory, finding performance opportunities, and I had neither the time nor the energy to write. After composing Shunkinshō in 1975, the composition of operas came to occupy half of my output, and the writing of a book on the theoretical use of Japanese instruments seemed even more remote.

At the same time, the number of compositions for Japanese instruments was rapidly increasing. I came to believe that somebody would compile a book on Japanese instrumentation that included a discussion of classic techniques and a discussion of newly developed techniques commonly found in contemporary works. It had to happen: it was my only salvation! After all, several introductory guides had been published, and I had released a two-record set, Introduction to Japanese Instruments, through Columbia in 1972 (in 1987, this was expanded to a four-record set). With the record set, I felt, more or less, that I had acquitted myself of this onerous responsibility.

From 1985, I distanced myself from the Pro Musica Nipponia for a period of ten years. During this time, I had the leisure to objectively view Japanese instruments. I also had numerous opportunities to work with Chinese and Korean instruments. I also expanded the range of my opera work to include computergenerated music with regular Western instruments. In distancing myself from the music of my own culture, I saw it in a new light, and came to appreciate anew the allure of Japanese instruments. With this experience, I realized that it was necessary for me to reconsider some of the perceptions of contemporary music and traditional instruments that I had had when I was so engrossed in promoting this music.

In 1994, thirty years after the founding of the Pro Musica Nipponia, Orchestra Asia—an ensemble of ethnic instruments from Japan, China, and Korea—was established in Seoul. I was given responsibility for its artistic progress. More necessary than anything else was the contribution of works by composers from all over the world.