[3] The year after, 1947, Hayasaka received the Mainichi film music award for Teinosuke Kinugasa's Actress (Joyu).

In the late 1940s, Hayasaka invited his friend Akira Ifukube to write film music with him at Toho Studios.

[4] Ifukube's first film score for Toho was for Senkichi Taniguchi's Snow Trail (Ginrei no hate) in 1947.

[3] Their collaboration turned into a very deep artistic relationship, with Hayasaka contributing ideas to the visual part of the film.

During the 1950s, Hayasaka also composed the scores for some of the final works of another Japanese director, Kenji Mizoguchi.

[11] This film was also related to the atomic scar of the Japanese culture; although the American occupation forces forbade the Japanese media from "criticizing America's role in the tragedy" of Hiroshima and Nagasaki, Rashomon depicts a historical era of Japan where her cities are in ruin and social chaos abounds.

[18] During his time in Tokyo, Hayasaka also wrote several notable concert works including Ancient Dances of the Left and on the Right (1941), a Piano Concerto (1948) and the orchestral suite Yukara (1955).

Weak and sickly from TB, he told Kurosawa that "with this illness threatening my life, I can't work."

[22] This movie was another of a series of postwar films that displayed a Japanese fear of the effects of atomic weapons.

[11] Sato continued to use demonstrate deep western influences through the rest of his career, making his scores (and the films they accompany) "especially accessible to non-Oriental listeners".

[24] This was another film of Kurosawa's that indirectly alluded to the atomic bombs, being set in "a period after cataclysmic destruction to a center of Japanese life and political power".