Hiroshi Yoshimura’s very first composition, “Clouds for Alma,” was written on a postcard. The short piece only took up a single measure on a page of sheet music — the perfect size for scribbling on a card. He mailed it to a friend in Holland in 1977, and from then on would regularly send pocketable preludes to his pals. Yoshimura would evolve his craft as he continued to study music and develop his ambient music, but he would retain this idea of composing in miniatures for the rest of his life. He composed nine additional postcard pieces, and when visiting the Hara Museum of Contemporary Art was struck by the beautiful views from its various windows. Feeling that they were the perfect imagery to match his musical postcards, Yoshimura approached the museum’s staff to suggest installing his pieces to play on a loop at nine different vistas in the building. From there, his theory of environmental music began to take shape — the sound and sights were married as if they had always been made for one another.