Problem: Background: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.
Context: In 1948, Takemitsu conceived the idea of electronic music technology, or in his own words, to "bring noise into tempered musical tones inside a busy small tube." During the 1950s, Takemitsu had learned that in 1948 "a French [engineer] Pierre Schaeffer invented the method(s) of musique concrete based on the same idea as mine. I was pleased with this coincidence."  In 1951, Takemitsu was a founding member of the anti-academic Jikken Kobo (Shi Yan Gong Fang , "experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyusoku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956). Takemitsu also studied in the early 1950s with the composer Fumio Hayasaka, perhaps best known for the scores he wrote for films by Kenji Mizoguchi and Akira Kurosawa, the latter of whom Takemitsu would collaborate with decades later.  In the late 1950s chance brought Takemitsu international attention: his Requiem for string orchestra (1957  listen ), written as an homage to Hayasaka, was heard by Igor Stravinsky in 1958 during his visit to Japan. (The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.) At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. Stravinsky subsequently invited Takemitsu to lunch; and for Takemitsu this was an "unforgettable" experience. After Stravinsky returned to the U.S., Takemitsu soon received a commission for a new work from the Koussevitsky Foundation which, he assumed, had come as a suggestion from Stravinsky to Aaron Copland. For this he composed Dorian Horizon, (1966), which was premiered by the San Francisco Symphony Orchestra, conducted by Copland.
Question: what else did he produce?
Answer: by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A*I (1956).

Background: Alfred Adler was born at Mariahilfer Strasse 208 in Rudolfsheim, then a village on the western fringes of Vienna, and today part of Rudolfsheim-Funfhaus, the 15th district of the city. He was second of the seven children of a Hungarian-born, Jewish grain merchant and his wife. Alfred's younger brother died in the bed next to him, when Alfred was only three years old. Alfred was an active, popular child and an average student who was also known for his competitive attitude toward his older brother, Sigmund.
Context: Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".  In 1902 Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. A long-serving member of the group, Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914). This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud's", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.  Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
Question: What was the reason he switched his career focus?
Answer:
His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".