Japanese anime soundtrack artist and composer.
Biography
Nowadays, he is engaged in composing music for TV and movies as well as anime. His sonorous soundtrack style has made a strong impact on the Japanese patriarchal soundtrack composer, Jean Hisaishi.
At the age of 17, he began to study composition on his own, and was enrolled in the composition department of the Tokyo University of Music in 1981, where he was instructed by Akira Ifukabe, Naru Ikeno, and Reiko Arima as his composition teachers, and Yasuhiko Shiozawa as his conductor; and during his studies, he was awarded the 30th Anniversary of the Establishment of the Maritime Self-Defense Force's Tokyo Music Team, and was selected as the winner of the composition award of the Japan Symphony Revitalization Foundation. This student of the "school of honor" later chose to study wind music and traditional dance music, and in 1985, Kaoru Wada began to engage in electronic music and orchestra. After graduating from the university, he traveled in Europe to observe the activities and operations of symphony orchestras in several countries, and in 1988, the overture of his "Folkloric Dance Suite for Orchestra" was performed in Sweden by the Malmo Symphony Orchestra, followed by performances in the Netherlands, France, England, and the United Kingdom. Afterwards, he performed the overture in Sweden by the Malmo Symphony Orchestra, followed by many concerts in Holland, France, England, Switzerland, Spain, Germany, Denmark, Norway, the United States, and Japan, which were well received and released by Grammaphone Bis in Germany in 1990. In 1989, Kaoru Wada founded his own "Kaoru Wada Music Office", and began composing music for movies, television and animation, as well as acting as a planner, composer, and arranger for the Nova Japan Symphony Orchestra, and has made a great deal of achievements in the field of folk music and other areas.
After returning to Japan, he began to take charge of music for various animations, movies, stage plays and radio dramas, and a number of popular animated films have also gained considerable fame in Taiwan; in 2004, he also cooperated with Taiwan's Chu Tsung-ching Percussion Orchestra, and came to Taiwan to perform the sound of the five drums, which brought about a new percussion style, and in '06 he again cooperated with the Chu Tsung-ching Percussion Orchestra, and rewrote the Inuyasha movie soundtrack for the Chu Tsung-ching Percussion Orchestra to play during the winter tour, which shows that he has made great achievements in folk music. In 2006, he collaborated with the Chu Tsung-ching Percussion Ensemble again to rewrite the Inuyasha movie soundtrack, which was played by the Chu Tsung-ching Percussion Ensemble on their winter tour, showing Kaoru Wada's international outlook and strength.
His mentor, Akira Ifukube, passed away in early 2006, and a concert will be held on March 4, 2007 in honor of the musician and his students, with Kaoru Wada as an executive member of the implementation committee. The style of the music is simple and clear, and the arrangement is full of power and depth, and Kaoru Wada mainly publishes orchestral and other works in addition to the music for the theater.
Musical style
Kaoru Wada's soundtrack clearly belongs to the orthodox school, using horns and orchestra to express the heroism of the heroic, and the music for the tense moments is the usual technique used in movies and TV: the heart-stopping fiddle trills, irregular drum beats, low horns slowly repeating a tune in different scales, and then a beehive of pandemonium, which has a rather good effect. The effect is quite good. I prefer to listen to his soothing part, the ancient smell of fantasy, as if purified in the goddess's holy breath. And in <Inuyasha> the soundtrack maintains the clanging excitement, the unique Japanese classical flavor of the lyric Kaoru Wada himself is involved in a very diverse range of music creation, not only in the nature of the pure music orchestra, Japanese traditional music, wind, percussion ensembles, etc., and can even be appreciated in Japanese dramas, pop singer's albums or anime soundtracks.
For example, he produced the music for the Japanese animation "Inuyasha", and composed music for movies, TV, video tapes, CDs, plays and stage productions, and won the "Japan Movie Award" for his film music for "Crest of Betrayal" published by Shochiku Film in 1995. In terms of animation, his works include "Inuyasha," which is familiar to Taiwanese audiences, "Three Eyes," which is a popular animation in Japan, and "Saint Seiya," "Kikyo Corps," "Miyoshi the New Vampire Girl," and the movie "The Kindaichi Incident Book," which is also loved by many people in Taiwan. In addition to his famous animation soundtracks, Kaoru Wada has also helped produce the soundtracks for the Japanese drama "To Heart" and the movie "The Secret" starring Japanese actress Ryoko Hiromu, and composed the music for the famous Japanese pop singer Yuki Koyanagi, in which we can hear the vitality of various social cultures colliding with each other, and the flavors that they contain.
In addition to composing for chamber orchestra and percussion ensembles, Kaoru Wada has composed for the Japan Music Group, Yomiuri Japan Symphony Orchestra, Gunma Symphony Orchestra, Keiko Abe, Eitetsu Hayashi, Amsterdam Percussion Orchestra, and the Percussion Department of the National University of Music, and a collaboration with world-renowned xylophone virtuoso Keiko Abe has led to the opportunity to collaborate with the Joo Tsung Ching Percussion Ensemble.
A list of Kaoru Wada's anime and game music compositions speaks for itself: "To heart", "The Battle of Rhodes - Legend of the Heroic Knights", "The Three Eyes", "Kingdom Hearts", "Kindaichi Boys' Incident Book", "Beast Guard Shinobazu", "Magical Formation City", "Shin Sucking Hime Miyu", "Singijeon", "Souls of the Servant OVA", the hit "Inuyasha", and the recently finished "The Battle of the Battle of the Battle of Rhodes". Inuyasha" and the recently finished "Gilgamesh". Compared to Yoko Sugano, a composer who is good at gathering material from folk music around the world, Kaoru Wada is more of a traditionalist, with traditional Japanese xiao, flute, taiko drums, and even the Chinese erhu all finding their way into his music.
Also a symphonic composer, Kaoru Wada's musical style contrasts sharply with that of Oshima Michiru (Goblin Warrior TV, Alchemist of Steel). Oshima's style favors traditional classical symphonies and uses mostly European instruments, creating a solemn and heavy atmosphere. On the other hand, Kaoru Wada's style is much lighter, and he specializes in the use of Japanese instruments (e.g., wadaiko, noh, sanshin, satsuma lute, etc.), which he combines with traditional European symphonies to create a unique style of "wabi-sabi symphony". The combination of different ethnic instruments creates a piece of music that is both light and airy, with the depth and gravity of a symphony. It is also worth noting that Kaoru Wada's accompanying music and the piece itself are very well integrated. In terms of compositional structure, Kaoru Wada's scores are closer to the style of movie music, that is, music composed to fit the storyline of the work more than the degree of independence of the score itself. Typical examples of this type of music are "时代を超える想い2", "优しさ、ありがとう", "祈り,願い"," " Three Eyes Maeyin Teima" and so on.
The tunes start with a soothing, low melody and build to a climax as the movie's storyline progresses. The structure of "Three Eyes Maintained" is even more unique: after a short strings prelude, mysterious percussion full of Tibetan flavor emerges, fully emphasizing the worldview of "Three Eyes". Then, in a sudden change of style, the main theme of the work "Three Eyes" is brought out, and the deep, sad tune seems to tell the fate of Pei and Yakumo, who meet in the wheel of fate of the three-eyed Moujara.
In Kaoru Wada's writing, whether it's the longing of Inuyasha and Kagome across the ages in "Inuyasha," the heavy and sad destiny of Yakumo and Pei in "The Three Eyes," or the lighthearted and gentle school life in "To Heart," it's all portrayed so beautifully. They are all so beautifully depicted and unforgettable. Therefore, I believe that Kaoru Wada's music should not be appreciated in isolation from the original works; although only the music is released here, I strongly recommend that you check out the original works, as Kaoru Wada's music works so well with the storyline in these works. In the first two theatrical releases of Inuyasha and the OVA of Three Eyes, the music reaches its climax as the storyline reaches its apex, and the performance is so good that both the work itself and Kaoru Wada's music leave a deep impression on the audience. The performance was so good that both the work itself and Kaoru Wada's music made a deep impression on the audience. The soundtrack for "Exorcist Boys", which aired in October '06, was less than stellar, and was a far cry from its previous score in "Inuyasha". (trans)
However, its interlude, "Sō no Kō", composed for "Exorcism Boys" after 90 episodes, was well received.
The Baidu encyclopedia is very detailed, we got the main one, mainly there is about him and the anime aspect. Sonnet is also loved~~