GAKA III， GENERALIZE OF HETEROPHONY， for Violin and Two Pianos（1987）

GAKA Ⅰ，Ⅱ，Ⅲ and Ⅳ are a series of works from 1986 to l988 when I was devoted to explore possibilities of heterophonic style in my music. Together with my other contemporary works such as Heterophony of Two Pianos and Orchestra (1987) and the final version of Heterophony for String Quartet (1988)， the four pieces can be seen as the starting point of my subsequent heterophonic compositions. In composing the four GAKAs， I applied four distinctive types of heterophonic style.
[GAKA III]
The work is composed by systematic operation of the tone row theme (See list of transformations of the tone row). There are few cases in my composition that I used the system like this. I intended to produce the heterophony that arises from divergences among different transformations of the mechanicalsounding tone row theme. It isn’t any longer presented in auditory form but in conceptual form expanding itself. This systematic and notional heterophony may appear to have lost its technical vitality， but I’ve wanted to go this far. I have a special attachment to this small piece all the more because it sounds unlike my other works.