“And the language of wood is a language to which nobody, throughout the history of music, has been able to listen with so much understanding and devotion as Japanese do. In their orchestral ensembles as well as in the accompaniment of their always monodical singing, percussion plays a much more important role than in the different european musical genres. The clashing of polished wooden pieces - like, among others, in the case of these pieces of wood threaded and called SASARA - as well as the percussion of the Sina-Korean origin sound-chests called MU-YU or the native Japanese drums called TAIKO and WADAIKO, produces indeed a wide set of sounds, differnt in their color and rank vut sharing an indifinite tone which is chracteristic of the sonorous materials of strong persobality. Due to their aristocratic resistance to traditional notation, they could be considered ideal for our atonal music."

“Kan Masuda doesn't imitate nor his own country's nor any other country's musical instruments, for each of his sculptures is, before all, a form of intuitively felt original beauty prepared for vibration, clash or resonance and, in some occasions, for more than one of these functions. They are volumes made at an ideal on-looker/actor's scale that should tear out of their surface and sound-chest the most unexpected sounds when knocked by hand or with a stick, for what Kan Masuda intends is to have the visitors to his exhibition - whether they are virtuosi or not - let those unique instruments speak without any other score than the personal inspiration of each moment.”