Comprising six fragments, each is titled based on Japanese mythology from the Kojiki. Below, each title and its corresponding musical piece will be briefly explained.

I. Île d'Onogoro en ciel――Onogoro Island

Onogoro (Onokoro) Island is an island appearing in Japanese mythology. It was formed from the drops that fell from the tip of a spear when Izanagi and Izanami stood on the Floating Bridge of Heaven, probed the sea with the spear, and then withdrew it. Thus, it refers to Japan itself. In Shin-ichi Matsushita's work, the tension is created by faint, occasionally resounding low notes and high notes played with rapid note values.

II. Le royaume 'Yomi' (sombre royaume) ――The Land of Yomi

Yomi is the place where souls go after death, the land where the deceased reside. With many ppp low-pitched sections, one senses a definite presence within a taut atmosphere, barely audible.

III. La Désse Amaterasu et son frère, Susano-o――Amaterasu-Ōmikami and Susanoo-no-Mikoto

Amaterasu-Ōmikami is the daughter of Izanagi and the sun goddess; Susanoo is Amaterasu-Ōmikami's younger brother. The composer designated "La Déesse Amaterasu" (Amaterasu-Ōmikami) as "Group A," further dividing Group A into five sub-groups: 1, 2, 3... He also designated "Le Frère Susano-o" (Susanoo-no-Mikoto) as "Group B," dividing Group B into seven sub-groups: a, b, c... The piece unfolds as these groups are combined.

IV. Histoire du royaume d'Inaba――The Story of the Land of Inaba

Inaba corresponds to the eastern part of present-day Tottori Prefecture. The anecdote concerning the White Hare of Inaba in the Kojiki is well-known. Although the score shows this piece concludes on a single page, it traverses a wide range of pitches, indicating a substantial amount of musical motion.

V. Histoire d'Umisachi et Yamasachi (le royaume sous-marin) ――The Story of Umisachi and Yamasachi (The Underwater Kingdom)

In the myth, the younger brother (Yamasachi-hiko) goes fishing, loses his fishhook, travels to the palace of the sea god to search for it, marries the sea god's daughter, obtains the fishhook and a magical jewel, and ultimately subjugates his elder brother (Umisachi-hiko). In Matsushita's work, individual notes resemble undulations, and at times, waves of sound surge powerfully towards the listener.

VI. Descente des dieux du ciel (Tenson-Kôrin) ――The Descent of the Heavenly Grandson

According to the myth, Ninigi-no-Mikoto descended from Takamagahara (the Plain of High Heaven) to Takachiho in Hyūga Province. In Matsushita's work, this is the final section of "Six Fragments," where delicate high-pitched notes resonate mysteriously.

Regarding the six titles based on Japanese mythology mentioned above, the composer did not intend to imbue them with realistic or literary meanings. Rather, he sought to evoke the ethnic atmosphere inherent in such myths. The composer stated that through this work, he pursued new possibilities for piano timbre and technique.

Six Fragments Based on Japanese Mythology was completed on March 27, 1967, in Osaka. It was a commissioned work for the Royan Festival (a French contemporary music festival) and received its world premiere by Yvonne Loriod. (Its Japanese premiere was in 1968, by Reiko Honsho.)

In 1970, the score was published by Ongaku no Tomo Sha. At first glance, the intricate score might seem difficult to perform. However, the composer meticulously notated symbols, and as the performer deciphers the notes and symbols, they will gradually be guided into the world of myth.