In his series Vertical Time Study, Hosokawa seeks to „integrate Noh’s vertical structure of time into my own music. It is about how temporal elements, like wedges, disrupt the vertical, horizontal timeline at irregular intervals. These disruptions produce elements of tension … creating visible fissures in the structure of time and visible cracks in space. My aim is to examine the complexity and the depth of these sounds hidden in the moment.” In his piece Sen V, Hosokawa tries to combine the “earth’s groaning” - his personal impression of Tibetan Shomyo (Buddhist monk chants) – with the sound of the accordion. The same instrument plays an important role in his 1994 piece In die Tiefe der Zeit, in which it acts as the female counterpart to the solo cello. Both instruments are embraced by the string section representing the universe. The part for accordion in Melodia, which represents Hosokawa’s attempt to portray the “flow of sounds in our souls”, is inspired by the sound of the ancient Chinese Sheng. The special relationship with Buddhist ideas is the hallmark of Hosokawa’s oeuvre: “It is possible to attain the state of Buddha in a single note.”