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Echoing Spirits: a Composition for Shakuhachi, 21-String Koto, and Orchestra

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Echoing Spirits: a Composition for Shakuhachi, 21-String Koto, and Orchestra ECHOING SPIRITS: A COMPOSITION FOR SHAKUHACHI, 21-STRING KOTO, AND ORCHESTRA A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC IN COMPOSITION MAY 2021 By William Watson Dissertation Committee: Chairperson, Donald Womack Thomas Osborne Takuma Itoh Kate McQuiston Mark Merlin TABLE OF CONTENTS • List of Tables……….…………………………………………………………………………iii • List of Examples.……….……….……….……….……….……….……….….….….….……iv • Note on Japanese Names and Terms…….……….……………………………………………vi • Introduction…………………………………………………………………………………….1 • Motivation Behind the Instrumentation………………………………………………………..2 • Precedents………….……….…………….……………………………………………………4 • Cross-cultural Compositional Strategies…………….…………………………………………7 • Extramusical Ideas………………………………………………………………………….12 • Formal Application of Jo Ha Kyū……………………………………………………….…15 • Analysis of Echoing Spirits………………….………………………………………………..16 • Form………………………………………………………………………………………..16 • Harmonic Language………………………………………………………………………..29 • Orchestration……………………………………………………………………………….40 • Conclusion…………………………………………………………………………………….45 • Bibliography…………………………………………………………………………………..46 "ii LIST OF TABLES Table 1. Dominant Jo Ha Kyū in Kodama……………………………………………………….18 Table 2. Subordinate Jo Ha Kyū within the Jo Phase of Kodama……………………………….18 Table 3: Subordinate Jo Ha Kyū within the Ha Phase of Kodama………………………………19 Table 4: Dominant Jo Ha Kyū in Kappa…………………………………………………………20 Table 5. Cyclic Structure of Kappa………………………………………………………………23 Table 6. Golden Ratio of Kappa…………………………………………………………………24 Table 7. Jo Ha Kyū in Usutsuki Warashi….……..………………………………………………24 Table 8. Ternary Form in Yamabiko…….….…….………………………………………………29 "iii LIST OF EXAMPLES Example 1. Child Theme……………………………………………………………………….21 Example 2. Water Theme……………………………………………………………………….21 Example 3. Kappa Theme………………………………………………………………………22 Example 4. Kappa Theme Reiterations…………………………………………………………22 Example 5. Kyū in the Shakuhachi…….………………………………………………………..25 Example 6. Kyū in the Koto and Strings…….…….….…………………………………………25 Example 7. Kyū in the Bassoons…….……….…….……………………………………………26 Example 8. Kyū in the Flutes….….………..…….………….……….…….……………………26 Example 9. Kyū in the Temple Block……….……………..……………..……………..………26 Example 10. Koto Theme in Usutsuki Warashi……………..………………..…………………27 Example 11. Variations on String Gestures in Usutsuki Warashi………………………..………27 Example 12. Koto Theme Development in Usutsuki Warashi………….……………………….27 Example 13. Shakuhachi Theme Development in Usutsuki Warashi……………………………27 Example 14. Initial Koto Tuning…….…………………………………………………………..30 Example 15. Nijūkumoijōshi Tuning ..….……………………………………………………….31 Example 16. Nijūkumoijōshi Melody in the Koto……………………………………………….31 Example 17. Shakuhachi Phrase in Kodama…………………………………………………….31 Example 18. Child Theme……………………………………………………………………….33 Example 19. Akatonbo Melody………………………………………………………………….33 Example 20. Kappa Theme in the Cellos………………………………………………………..34 Example 21. Intervalic Pattern in Shakuhachi Melody………………………………………….35 iv" LIST OF EXAMPLES Example 22. (026) Trichord in Koto Melody……………………………………………………35 Example 23. Moving Quarter-tone Drone……………………………………………………….36 Example 24. Rapid Bowing Behind the Bridge…………………………………………………36 Example 25. Microtonal Cluster and Glissandi………………………………………………….37 Example 26. Overlapping Nijūkumoijōshi Subsets………………………………………………37 Example 27. Meter and Quartal Harmony in Usutsuki Warashi…………………………………38 "v NOTE ON JAPANESE NAMES AND TERMS Throughout this dissertation, Japanese proper names are ordered given name first and family name second (i.e., Minoru Miki). Japanese words and place names that appear in standard English-language dictionaries are written in Roman script without macrons (e.g., Kyoto). Other Japanese words are written with macrons to denote long vowels (e.g., ryūkaku). vi" INTRODUCTION Echoing Spirits is a composition for shakuhachi, 21-string koto, and Western orchestra. The purpose of this paper is to offer a detailed view of the musical work. The paper is comprised of two parts. The first part addresses the reasons for my choice of instrumentation, compositions that influenced my piece, and my compositional strategies for integrating Japanese and Western musical resources. These strategies include integration of the following: the extramusical idea of yōkai, the Japanese and Western instruments, Japanese aesthetic and formal system jo ha kyū. The second part of the paper is an analysis of the composition, consisting of the formal structures I used to lay the foundations of the piece, the melodic and harmonic language, and orchestration choices. "1 MOTIVATION BEHIND THE SOLO INSTRUMENTS The choice to highlight the traditional Japanese instruments, shakuhachi and koto, stems from living in Hawai‘i and studying at the University of Hawai‘i at Mānoa from 2011 to 2021. The University has exposed me to the music and culture of several countries, and provided an extraordinary opportunity of hands-on learning with ensembles, as well as guidance from professors and guest performers. The composition area in the Music Department frequently arranges masterclasses and residency programs with musicians and ensembles from Japan, Korea and China. I have had my compositions for traditional East Asian instruments workshopped by ensembles such as Pro Musica Nipponia, Kyo Shin An, members of the National Gugak Center Orchestra, and Chinese Music Virtuosi. I have studied the fundamentals of how to play and compose for a number of East Asian instruments, and have focused on shakuhachi as my primary instrument. I was able to test my ideas, receive feedback and solutions for the problems I encountered in the music, and establish connections with professional collaborators of intercultural music. For the past six years I have studied shakuhachi under Reverend Thomas Okano of the Honpa Hongwanji Mission of Hawai‘i. The majority of my studies are dedicated to works from the Tozan Ryū, the shakuhachi school founded by Nakao Tozan. During my studies with Okano- sensei I participated in masterclasses and private tutoring with his own sensei, shakuhachi master, Miyoshi Genzan, as well as one of Okano’s early pupils, John Neptune. I frequently perform traditional and contemporary works with the University of Hawai‘i’s koto instructor, Darin Miyashiro of the Sawai Koto Academy, and the Hawai‘i Koto Academy, and I perform student compositions on the University’s Composer Symposiums and recitals. "2 In May of 2019 I was invited to Chiba, Japan for a modest premiere of one of my works, (Forest of Echoes), for shakuhachi, 13-string koto, and 17-string koto. During my visit I participated in rehearsals with the performers from the Dolce Hogaku Ensemble, under the leadership of shakuhachi master, Seizan Sakata, who also played the shakuhachi part in the piece. This opportunity provided me with further exposure to Japanese music traditions and cultural exchange essential to my research for this dissertation. "3 Precedents Because one of my primary objectives for Echoing Spirits was to integrate traditional Japanese instruments and aesthetics with the Western orchestra, I looked to several works that have contributed to the expansion of such intercultural exchange for inspiration. One of the first compositions for shakuhachi by a Western composer is Henry Cowell’s Universal Flute. In this work Cowell imitates traditional shakuhachi pieces (honkyoku) by exploring traditional techniques such as yuri (ornamental vibrato achieved by shaking the head) meri-kari (lowering and raising pitches by altering the embouchure and head position), and the finger articulations yuru and utsu. The pitch material focuses on the five basic pitches of the 1.8 shakuhachi (D F G A C), as well as Bb that is produced by half-hole technique. Cowell also wrote two concertos for koto and Western orchestra, Concerto No. 1 for Koto and Orchestra (1962), and Concerto No. 2 for Koto and Orchestra (1965). Cowell’s syncretic approach in these concertos includes a melodic-harmonic language that often employs hemitonic-pentatonic collections used in traditional koto tunings and cluster chords that imitate the shō in gagaku.1 John Cage, a student of Cowell, was inspired by Zen Buddhist philosophy which led to his use of indeterminacy and chance procedures. Although there are no specific works of Cage that inspired Echoing Spirits, I mention the composer here because he is a link to the inspiration of pieces by Toru Takemitsu that include Japanese and Western instruments, such as the landmark composition, November Steps (1967). November Steps for shakuhachi, biwa, and Western orchestra, was the first piece I encountered and was affected by that incorporates Japanese and Western instruments. 1. Peter John Schimpf, “A Transcultural Student, Teacher, and Composer: Henry Cowell and the Music of the World's Peoples.” (PhD diss., Indiana University, 2006), 268-275. "4 In November Steps, Takemitsu juxtaposes the sound worlds of these cultures to emphasize the differences between the two traditions. Takemitsu reflects these differences by writing the orchestra parts in metrical Western notation, while the Japanese instruments are in proportional notation. While there are a few instances where the two sound worlds overlap, the orchestra is largely absent from the musical dialogue between the soloists. Minoru Miki’s Eurasion Trilogy (Ho-o sanren) consists of three pieces, Jo no Kyoku (1969), Ha no Kyoku (1974) and Kyū
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