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An interesting aspect of this period is that Takemitsu's work underwent a stylistic shift, particularly in his chamber music. His work in this context was often marked by a greater emphasis on texture, often on a single melodic line, at the expense of instrumentation. The harpsichord has become a particularly significant instrument in his chamber music, and this is exemplified in his Dance, composed around 1979-1980. The piece was originally written for 12 instruments, but it was reduced to 7 when he premiered it in 1980. It is a work that is closely related to the second of Takemitsu's two chamber operas, The Pleasure (1980), and it is particularly successful in demonstrating the changing nature of the keyboard instruments in his later works. A preliminary version of the work was premiered at the Los Angeles Chamber Orchestra in 1981, and it was recorded with the same orchestra in 1982, with Takemitsu himself on harpsichord and electronics. (An earlier version was released in Japan as Piano Concerto in 1984.) The Dance has a large and rich palette, and it is a study in form and color, although its structure remains concealed and abstract.

During this period, the influence of Japanese and Eastern culture on Takemitsu's musical style became ever more apparent in his works, and compositional form became very much more complex. By the mid-1970s, he was composing works such as Plum Blossom and The Border that were constructed exclusively on recurring forms, abstracted from any particular melodic material. In the meantime, he was writing his own autobiographical monologue for the stage, Winter Evening, and an opera, The Pleasure. He continued composing for the concert hall, and even gave the premiere of his Roar of the Lion (1979) with the London Sinfonietta and the Philharmonia Orchestra. The work was later recorded in Japan by Takemitsu himself, with the same orchestra, in 1980.[32]

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