[Machine Translation] Omega Point and M Records' joint release of the "Music for a Single Performer" by Alvin Lussier, known as the first musical work to use human brain waves. This time, we have Alvin Lussier's "Music for One Performer," known as the first musical work using human brain waves, performed by John Cage's group in the 60's. The other is Toshi Ichiyanagi's masterpiece "Appearance," which shook the present sound enthusiasts with its early Omega Point release. The other is a master tape recording of Toshi Ichiyanagi's masterpiece "Appearance," which shook up the current sound enthusiasts with its early Omega Point release. The essence of experimental music, which is more than a mere rarity and can be called proto-industrial, is now being bathed in the historical dialectic of ambient music! This is a live recording of a concert by Cage, David Tudor, and Toshi Ichiyanagi at Hope University in Michigan in 1967. The Hope University concert was also an unrelenting explosion of amplified performance sound. Lucier's "Music for One Performer" (1965) is the closest recording to the date of composition that is currently available, and is being presented for the first time in the world. This 1967 version is quite different from the one released by Lucier and Pauline Oliveros on Lovely Music in 1982, with the electric realization techniques of the Cage school, and is a metaphysical nonsense sound block that sounds like neighborhood road construction if you don't know what it is about. The brainwave performance is by the virtuoso Tudor. Toshi Ichiyanagi's "Appearance" (1967) was the latest piece at the time, published on the front cover of Source Magazine, and featured Cage in an explosive performance that mixed live electronics and acoustic instruments. The performance itself is identical to the one released on Omega Point in 2006, but the source tape used for this release is believed to be the master tape, which clearly has higher linearity and greatly improved sound quality. It is also a longer version that includes audience reactions not present in the 2006 version. This work includes a foreword by Omega Point (explaining how the tapes were discovered), a reprint of Toshi Ichiyanagi's 2006 commentary on "Appearance," and a commentary by sound artist Minoru Sato, a researcher of Lucier's works who had been in contact with the artist before his death.