Enishi (Modern Koto) appears on the following albums

	Album	Artist
	Best Take 7 - Tazuko Miyashita	Koto : Miyashita Tazuko
"Destiny (Enishi)” solo work for koto composed 1984, revised 1987 This purely instrumental work for solo koto depicts the profound philosophical principle of "destiny"--the unseverable emotional ties that link people, or the notion of cause and effect that forms the basis of the world as we know it. This atonal three-part work is grounded in Noh music principles. The first section exudes a sense of realism, which develops into a romantic mood in the second section before the final denouement. Scattered appearances of quarter-tone phrases in the central portion of the piece produce an unusual effect. The piece contains a number of unusual cacophonous effect, including atonality, and the striking of the strings and the koto's sound board.
	Best Take 7 - Tazuko Miyashita	Koto : Miyashita Tazuko
"Destiny (Enishi)” solo work for koto composed 1984, revised 1987 This purely instrumental work for solo koto depicts the profound philosophical principle of "destiny"--the unseverable emotional ties that link people, or the notion of cause and effect that forms the basis of the world as we know it. This atonal three-part work is grounded in Noh music principles. The first section exudes a sense of realism, which develops into a romantic mood in the second section before the final denouement. Scattered appearances of quarter-tone phrases in the central portion of the piece produce an unusual effect. The piece contains a number of unusual cacophonous effect, including atonality, and the striking of the strings and the koto's sound board.
	Best Take 7 - Tazuko Miyashita	Koto : Miyashita Tazuko
"Destiny (Enishi)” solo work for koto composed 1984, revised 1987 This purely instrumental work for solo koto depicts the profound philosophical principle of "destiny"--the unseverable emotional ties that link people, or the notion of cause and effect that forms the basis of the world as we know it. This atonal three-part work is grounded in Noh music principles. The first section exudes a sense of realism, which develops into a romantic mood in the second section before the final denouement. Scattered appearances of quarter-tone phrases in the central portion of the piece produce an unusual effect. The piece contains a number of unusual cacophonous effect, including atonality, and the striking of the strings and the koto's sound board.