DOCSLIB.ORG

A Transformational Approach to Japanese Traditional Music of the Edo Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Transformational Approach to Japanese Traditional Music of the Edo Period University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2017 A Transformational Approach to Japanese Traditional Music of the Edo Period Kenneth J. Pasciak University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Music Theory Commons Recommended Citation Pasciak, Kenneth J., "A Transformational Approach to Japanese Traditional Music of the Edo Period" (2017). Masters Theses. 527. https://doi.org/10.7275/9993098 https://scholarworks.umass.edu/masters_theses_2/527 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A TRANSFORMATIONAL APPROACH TO JAPANESE TRADITIONAL MUSIC OF THE EDO PERIOD A Thesis Presented By Kenneth J. Pasciak Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2017 Music Theory © Copyright by Kenneth J. Pasciak 2017 All Rights Reserved ii A TRANSFORMATIONAL APPROACH TO JAPANESE TRADITIONAL MUSIC OF THE EDO PERIOD A Thesis Presented By Kenneth J. Pasciak Approved as to style and content by: ______________________________________________ Brent Auerbach, Chair ______________________________________________ Christopher White, Member ______________________________________________ Anne Prescott, Member ______________________________________________ Roberta M. Marvin, Department Head Department of Music iii DEDICATION To my wife, Sayaka, and my sons, Kai and Konan. iv ACKNOWLEDGEMENTS I would like to thank my advisor, Brent Auerbach, for his guidance and advice, his thorough and detailed comments and his patience throughout this entire process. I would like to thank my committee members, Christopher White and Anne Prescott for sharing their knowledge and expertise and offering their observations, suggestions and helpful comments. I would like to thank Stefan Caris Love and Jason Hooper for their comments and encouragement during the early stages of this project. Finally, I wish to thank all of my friends and family for their support and encouragement. This would not have been possible without all of you. v ABSTRACT A TRANSFORMATIONAL APPROACH TO JAPANESE TRADITIONAL MUSIC OF THE EDO PERIOD MAY 2017 KENNETH J. PASCIAK, B.S. UNIVERSITY AT BUFFALO B.A., UNIVERSITY AT BUFFALO M.M., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Brent Auerbach Analysis of sōkyoku jiuta, Japanese traditional music of the Edo period for koto and shamisen, has in the past relied primarily on static tetrachordal or hexachordal models. The present study takes a transformational approach to traditional Japanese music. Specifically, it develops a framework for six-pitch hexachordal space inspired by Steven Rings’s transformational approach to tonal music. This novel voice-leading space yields insights into intervallic structure, trichordal transposition and hexachordal voice leading and transformations of this music at both its surface and large-scale levels. A side-by-side comparison with Rings’s approach highlights differences between the hexachordal and diatonic systems. vi TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................................................................................................ v ABSTRACT ....................................................................................................................... vi LIST OF FIGURES ........................................................................................................... ix CHAPTER I INTRODUCTION ..................................................................................................... 1 II HISTORICAL BACKGROUND AND LITERATURE REVIEW ........................... 8 III THEORY AND METHODOLOGY ........................................................................ 25 Part 1: A GIS for Hexachordal Space ................................................................... 26 Hexachordal Scale Degrees and Hexachordal Properties ......................... 29 Transformations in Hexachordal Space .................................................... 30 Part 2: A Hexachordal GIS ................................................................................... 37 Tonal and Hexachordal Qualia ................................................................. 37 Sets and Transformations .......................................................................... 42 Modulatory Intervals ................................................................................. 44 Pivot Intervals ........................................................................................... 45 Skew Pivots ............................................................................................... 47 Voice Crossings ........................................................................................ 50 Parsimonious Transformations and Intervallic Structure ......................... 52 Intervallic Consistency .............................................................................. 56 Part 3: Trichordal Transpositions and Hexachordal Transformations ................. 58 Part 4: Event Networks and Oriented Networks .................................................. 72 IV ANALYTICAL APPLICATIONS .......................................................................... 77 Kumiuta ..................................................................................................... 77 A Modification to Hexachordal Voice Leading ........................................ 79 Implications of Hexachordal Transformations ......................................... 84 Koto Prelude, Hien no Kyoku and Trichordal Transpositions .................. 90 Akikaze no Kyoku: A New Hexachordal Collection ................................. 94 vii V CONCLUSION ...................................................................................................... 103 APPENDIX: ASPECTS OF THE KOTO AND SHAMISEN ......................................... 107 REFERENCES ............................................................................................................... 109 viii LIST OF FIGURES Figure Page 1. A hexachordal collection ........................................................................................ 1 2. Maebiki of Zangetsu, mm. 1–7 ............................................................................... 2 3. Subject (mm. 1–2) and answer (mm. 2–4) of fugue ............................................... 4 4. Network representing two possible hearings of the fugue’s opening ..................... 4 5. Answer (mm. 2–4) with countersubject reduction .................................................. 5 6. Network representing path between two tonal contexts ......................................... 5 7. Model of the path traversed by the answer from Figures 5 and 6 within the tonal GIS ................................................................................................................. 6 8. Event network and grid for fugue subject, mm. 1–2 ............................................... 7 9. Koto tuning systems: tsukushigoto (upper) and hira-jōshi (lower) ....................... 9 10. Ascending and descending forms of the in scale .................................................. 11 11. Four kinds of tetrachords ...................................................................................... 12 12. Melody based on a D-F-G tetrachord ................................................................... 12 13. Conjunct (left) and disjunct (right) tetrachords .................................................... 13 14. Tetrachordal modulation with nuclear pivot tone, G ............................................ 13 15. Tetrachord analysis of Rokudan no Shirabe ......................................................... 14 16. Octave scale constructed from two disjunct tetrachords ....................................... 15 17. Pivotal tetrachords between related scales.............................................................16 18. The hexachordal model with lower and upper trichords separated by a fifth ....... 17 19. Trichordal transposition ........................................................................................ 18 20. Contrapuntal trichordal motion between E and B hexachords ............................. 19 21. Background structure of Midare ........................................................................... 21 ix 22. Background structure of Godan ginuta ................................................................. 21 23. Midare, opening dan, mm. 1–14 ........................................................................... 26 24. Pitch content of Midare ........................................................................................ 27 25. Various hexachordal intervals in Midare, opening dan, mm. 1–14 ...................... 28 26. Hexachordal model with hexachordal scale degrees ............................................ 29 27. Octave model of tetrachord theory with hexachordal scale degrees ..................... 30 28. Mapping tables for various transpositions in hexachordal space .......................... 31 29. Rotation about 0-3 axis, Ih 0-3; rotation about axis between 1 and 2, Ih 1/2 ............. 32 30.
Load more

Recommended publications
  • MTO 10.1: Wibberley, Syntonic Tuning
    Volume 10, Number 1, February 2004 Copyright © 2004 Society for Music Theory Roger Wibberley KEYWORDS: Aristoxenus, comma, Ganassi, Jachet, Josquin, Ptolemy, Rore, tetrachord, Vesper-Psalms, Willaert, Zarlino ABSTRACT: This Essay makes at the outset an important (if somewhat controversial) assumption. This is that Syntonic tuning (Just Intonation) is not—though often presumed to be so—primarily what might be termed “a performer’s art.” On the contrary it is a composer’s art. As with the work of any composer from any period, it is the performer’s duty to render the music according to the composer’s wishes as shown through the evidence. Such evidence may be indirect (perhaps documentary) or it may be explicitly structural (to be revealed through analysis). What will be clear is the fallacy of assuming that Just Intonation can (or should) be applied to any music rather than only to that which was specifically designed by the composer for the purpose. How one can deduce whether a particular composer did, or did not, have the sound world of Just Intonation (henceforward referred to as “JI”) in mind when composing will also be explored together with a supporting analytical rationale. Musical soundscape (especially where voices are concerned) means, of course, incalculably more than mere “accurate intonation of pitches” (which alone is the focus of this essay): its color derives not only from pitch combination, but more importantly from the interplay of vocal timbres. These arise from the diverse vowel sounds and consonants that give life, color and expression. The audio examples provided here are therefore to be regarded as “playbacks” and no claim is being implied or intended that they in any way stand up as “performances.” Some care, nonetheless, has been taken to make them as acceptable as is possible with computer-generated sounds.
    [Show full text]
  • Construction and Verification of the Scale Detection Method for Traditional Japanese Music – a Method Based on Pitch Sequence of Musical Scales –
    International Journal of Affective Engineering Vol.12 No.2 pp.309-315 (2013) Special Issue on KEER 2012 ORIGINAL ARTICLE Construction and Verification of the Scale Detection Method for Traditional Japanese Music – A Method Based on Pitch Sequence of Musical Scales – Akihiro KAWASE Department of Corpus Studies, National Institute for Japanese Language and Linguistics, 10-2 Midori-cho, Tachikawa City, Tokyo 190-8561, Japan Abstract: In this study, we propose a method for automatically detecting musical scales from Japanese musical pieces. A scale is a series of musical notes in ascending or descending order, which is an important element for describing the tonal system (Tonesystem) and capturing the characteristics of the music. The study of scale theory has a long history. Many scale theories for Japanese music have been designed up until this point. Out of these, we chose to formulate a scale detection method based on Seiichi Tokawa’s scale theories for traditional Japanese music, because Tokawa’s scale theories provide a versatile system that covers various conventional scale theories. Since Tokawa did not describe any of his scale detection procedures in detail, we started by analyzing his theories and understanding their characteristics. Based on the findings, we constructed the scale detection method and implemented it in the Java Runtime Environment. Specifically, we sampled 1,794 works from the Nihon Min-yo Taikan (Anthology of Japanese Folk Songs, 1944-1993), and performed the method. We compared the detection results with traditional research results in order to verify the detection method. If the various scales of Japanese music can be automatically detected, it will facilitate the work of specifying scales, which promotes the humanities analysis of Japanese music.
    [Show full text]
  • MTO 20.2: Wild, Vicentino's 31-Tone Compositional Theory
    Volume 20, Number 2, June 2014 Copyright © 2014 Society for Music Theory Genus, Species and Mode in Vicentino’s 31-tone Compositional Theory Jonathan Wild NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.2/mto.14.20.2.wild.php KEYWORDS: Vicentino, enharmonicism, chromaticism, sixteenth century, tuning, genus, species, mode ABSTRACT: This article explores the pitch structures developed by Nicola Vicentino in his 1555 treatise L’Antica musica ridotta alla moderna prattica . I examine the rationale for his background gamut of 31 pitch classes, and document the relationships among his accounts of the genera, species, and modes, and between his and earlier accounts. Specially recorded and retuned audio examples illustrate some of the surviving enharmonic and chromatic musical passages. Received February 2014 Table of Contents Introduction [1] Tuning [4] The Archicembalo [8] Genus [10] Enharmonic division of the whole tone [13] Species [15] Mode [28] Composing in the genera [32] Conclusion [35] Introduction [1] In his treatise of 1555, L’Antica musica ridotta alla moderna prattica (henceforth L’Antica musica ), the theorist and composer Nicola Vicentino describes a tuning system comprising thirty-one tones to the octave, and presents several excerpts from compositions intended to be sung in that tuning. (1) The rich compositional theory he develops in the treatise, in concert with the few surviving musical passages, offers a tantalizing glimpse of an alternative pathway for musical development, one whose radically augmented pitch materials make possible a vast range of novel melodic gestures and harmonic successions.
    [Show full text]
  • Miyagi Michio's Koto Works for Children Author(S): Anne Prescott Reviewed Work(S): Source: Asian Music, Vol
    University of Texas Press The Donkey's Ears Go Flop, Flop: Miyagi Michio's Koto Works for Children Author(s): Anne Prescott Reviewed work(s): Source: Asian Music, Vol. 36, No. 1 (Winter - Spring, 2005), pp. 27-43 Published by: University of Texas Press Stable URL: http://www.jstor.org/stable/4098502 . Accessed: 29/05/2012 23:35 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Music. http://www.jstor.org The Donkey'sEars Go Flop, Flop: Miyagi Michio'sKoto Works for Children Anne Prescott Abstract:Miyagi Michio gilA L (1894-1956),koto performer,composer, and edu- cator,was a musicalinnovator who modifiedtraditional instruments, incorporated new ideasinto the bodyof workcalled s6kyoku Z 0,' andadopted compositional and playingtechniques from Western music and instruments.He was also one of the first Japanesecomposers to createpedagogical materials and entertainingworks that were appropriatefor children,and thoseworks are still widelyused todayto teachkoto- playingto beginners,particularly children. This paper will providean introductionto the Miyagischool of kotoplaying, examine the traditionalmethod of teachingkoto to children,investigate Miyagi's motivation for creatinga pedagogicalmethod for chil- dren,provide a historicaloverview of Miyagi'sdakyoku @ (children'ssongs), and finallyanalyze several of theseworks.
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • Glories of the Japanese Music Heritage ANCIENT SOUNDSCAPES REBORN Japanese Sacred Gagaku Court Music and Secular Art Music
    The Institute for Japanese Cultural Heritage Initiatives (Formerly the Institute for Medieval Japanese Studies) and the Columbia Music Performance Program Present Our 8th Season Concert To Celebrate the Institute’s th 45 Anniversary Glories of the Japanese Music Heritage ANCIENT SOUNDSCAPES REBORN Japanese Sacred Gagaku Court Music and Secular Art Music Featuring renowned Japanese Gagaku musicians and New York-based Hōgaku artists With the Columbia Gagaku and Hōgaku Instrumental Ensembles of New York Friday, March 8, 2013 at 8 PM Miller Theatre, Columbia University (116th Street & Broadway) Join us tomorrow, too, at The New York Summit The Future of the Japanese Music Heritage Strategies for Nurturing Japanese Instrumental Genres in the 21st-Century Scandanavia House 58 Park Avenue (between 37th and 38th Streets) Doors open 10am Summit 10:30am-5:30pm Register at http://www.medievaljapanesestudies.org Hear panels of professional instrumentalists and composers discuss the challenges they face in the world of Japanese instrumental music in the current century. Keep up to date on plans to establish the first ever Tokyo Academy of Japanese Instrumental Music. Add your voice to support the bilingual global marketing of Japanese CD and DVD music masterpieces now available only to the Japanese market. Look inside the 19th-century cultural conflicts stirred by Westernization when Japanese instruments were banned from the schools in favor of the piano and violin. 3 The Institute for Medieval Japanese Studies takes on a new name: THE INSTITUTE FOR JAPANESE CULTURAL HERITAGE INITIATIVES The year 2013 marks the 45th year of the Institute’s founding in 1968. We mark it with a time-honored East Asian practice— ―a rectification of names.‖ The word ―medieval‖ served the Institute well during its first decades, when the most pressing research needs were in the most neglected of Japanese historical eras and disciplines— early 14th- to late 16th-century literary and cultural history, labeled ―medieval‖ by Japanese scholars.
    [Show full text]
  • 250 + Musical Scales and Scalecodings
    250 + Musical Scales and Scalecodings Number Note Names Of Notes Ascending Name Of Scale In Scale from C ScaleCoding Major Suspended 4th Chord 4 C D F G 3/0/2 Major b7 Suspend 4th Chord 4 C F G Bb 3/0/3 Major Pentatonic 5 C D E G A 4/0/1 Ritusen Japan, Scottish Pentatonic 5 C D F G A 4/0/2 Egyptian \ Suspended Pentatonic 5 C D F G Bb 4/0/3 Blues Pentatonic Minor, Hard Japan 5 C Eb F G Bb 4/0/4 Major 7-b5 Chord \ Messiaen Truncated Mode 4 C Eb G Bb 4/3/4 Minor b7 Chord 4 C Eb G Bb 4/3/4 Major Chord 3 C E G 4/34/1 Eskimo Tetratonic 4 C D E G 4/4/1 Lydian Hexatonic 6 C D E G A B 5/0/1 Scottish Hexatonic 6 C D E F G A 5/0/2 Mixolydian Hexatonic 6 C D F G A Bb 5/0/3 Phrygian Hexatonic 6 C Eb F G Ab Bb 5/0/5 Ritsu 6 C Db Eb F Ab Bb 5/0/6 Minor Pentachord 5 C D Eb F G 5/2/4 Major 7 Chord 4 C E G B 5/24/1 Phrygian Tetrachord 4 C Db Eb F 5/24/6 Dorian Tetrachord 4 C D Eb F 5/25/4 Major Tetrachord 4 C D E F 5/35/2 Warao Tetratonic 4 C D Eb Bb 5/35/4 Oriental 5 C D F A Bb 5/4/3 Major Pentachord 5 C D E F G 5/5/2 Han-Kumo? 5 C D F G Ab 5/23/5 Lydian, Kalyan F to E ascending naturals 7 C D E F# G A B 6/0/1 Ionian, Major, Bilaval C to B asc.
    [Show full text]
  • ANNEXURE Credo Theory of Music Training Programme GRADE 5 by S
    - 1 - ANNEXURE Credo Theory of Music training programme GRADE 5 By S. J. Cloete Copyright reserved © 2017 BLUES (JAZZ). (Unisa learners only) WHAT IS THE BLUES? The Blues is a musical genre* originated by African Americans in the Deep South of the USA around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals and folk music. The first appearance of the Blues is often dated to after the ending of slavery in America. The slavery was a sad time in history and this melancholic sound is heard in Blues music. The Blues, ubiquitous in jazz and rock ‘n’ roll music, is characterized by the call-and- response* pattern, the blues scale (which you are about to learn) and specific chord progressions*, of which the twelve-bar blues* is the most common. Blue notes*, usually 3rds or 5ths flattened in pitch, are also an essential part of the sound. A swing* rhythm and walking bass* are commonly used in blues, country music, jazz, etc. * Musical genre: It is a conventional category that identifies some music as belonging to a shared tradition or set of conventions, e.g. the blues, or classical music or opera, etc. They share a certain “basic musical language”. * Call-and-response pattern: It is a succession of two distinct phrases, usually played by different musicians (groups), where the second phrase is heard as a direct commentary on or response to the first. It can be traced back to African music. * Chord progressions: The blues follows a certain chord progression and the th th 7 b harmonic 7 (blues 7 ) is used much of the time (e.g.
    [Show full text]
  • In Search of the Perfect Musical Scale
    In Search of the Perfect Musical Scale J. N. Hooker Carnegie Mellon University, Pittsburgh, USA [email protected] May 2017 Abstract We analyze results of a search for alternative musical scales that share the main advantages of classical scales: pitch frequencies that bear simple ratios to each other, and multiple keys based on an un- derlying chromatic scale with tempered tuning. The search is based on combinatorics and a constraint programming model that assigns frequency ratios to intervals. We find that certain 11-note scales on a 19-note chromatic stand out as superior to all others. These scales enjoy harmonic and structural possibilities that go significantly beyond what is available in classical scales and therefore provide a possible medium for innovative musical composition. 1 Introduction The classical major and minor scales of Western music have two attractive characteristics: pitch frequencies that bear simple ratios to each other, and multiple keys based on an underlying chromatic scale with tempered tuning. Simple ratios allow for rich and intelligible harmonies, while multiple keys greatly expand possibilities for complex musical structure. While these tra- ditional scales have provided the basis for a fabulous outpouring of musical creativity over several centuries, one might ask whether they provide the natural or inevitable framework for music. Perhaps there are alternative scales with the same favorable characteristics|simple ratios and multiple keys|that could unleash even greater creativity. This paper summarizes the results of a recent study [8] that undertook a systematic search for musically appealing alternative scales. The search 1 restricts itself to diatonic scales, whose adjacent notes are separated by a whole tone or semitone.
    [Show full text]
  • Specifying Spectra for Musical Scales William A
    Specifying spectra for musical scales William A. Setharesa) Department of Electrical and Computer Engineering, University of Wisconsin, Madison, Wisconsin 53706-1691 ~Received 5 July 1996; accepted for publication 3 June 1997! The sensory consonance and dissonance of musical intervals is dependent on the spectrum of the tones. The dissonance curve gives a measure of this perception over a range of intervals, and a musical scale is said to be related to a sound with a given spectrum if minima of the dissonance curve occur at the scale steps. While it is straightforward to calculate the dissonance curve for a given sound, it is not obvious how to find related spectra for a given scale. This paper introduces a ‘‘symbolic method’’ for constructing related spectra that is applicable to scales built from a small number of successive intervals. The method is applied to specify related spectra for several different tetrachordal scales, including the well-known Pythagorean scale. Mathematical properties of the symbolic system are investigated, and the strengths and weaknesses of the approach are discussed. © 1997 Acoustical Society of America. @S0001-4966~97!05509-4# PACS numbers: 43.75.Bc, 43.75.Cd @WJS# INTRODUCTION turn closely related to Helmholtz’8 ‘‘beat theory’’ of disso- nance in which the beating between higher harmonics causes The motion from consonance to dissonance and back a roughness that is perceived as dissonance. again is a standard feature of most Western music, and sev- Nonharmonic sounds can have dissonance curves that eral attempts have been made to explain, define, and quantify differ dramatically from Fig.
    [Show full text]
  • View the Analyses of Webern’S Pieces
    UNIVERSITY OF CINCINNATI Date: May 24, 2005 __________________ I, Hyekyung Park __________________________________________________, hereby submit this work as part of the requirements for the degree of: Master of Music in: Music Theory It is entitled: Transformational Networks and Voice Leadings in the First Movement of Webern’s Cantata No. 1, Op. 29. This work and its defense approved by: Chair: Dr. Steven Cahn Dr. David Berry Dr. Earl Rivers TRANSFORMATIONAL NETWORKS AND VOICE LEADINGS IN THE FIRST MOVEMENT OF WEBERN’S CANTATA No. 1, OP. 29. A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirement for the degree of MASTER OF MUSIC In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2005 by Hyekyung Park B.M. Ewha Womans Univerisity, S. Korea 2002 Committee Chair: Steven Cahn, Ph.D. Abstract This thesis examines the use of transformation approaches for Anton Webern’s the First Cantata Op.29, No.1. The thesis is divided primarily into two parts: the summary of a theory of transformation and analyses of Op.29, No.1, which is studied in a transformation attitude. After presenting the introduction, Chapter 1 summarizes a theory of transformation based on David Lewin’s analyses about Webern’s works, and it researches three different approaches of voice leading, especially focusing on Joseph Straus’s transformational attitude. Before getting to the analyses, Chapter 2 presents the background of Webern’s Cantatas No.1, Op.29 as a basic for understanding this piece. The main contents of Chapter 2 are Webern’s thought about Op.29 and the reason why he collected three different poems as one work.
    [Show full text]
  • Shizuko Akamine and the So-Shin Kai: Perpetuating an Okinawan Music Tradition in a Multi-Ethnic Community
    SHIZUKO AKAMINE AND THE SO-SHIN KAI: PERPETUATING AN OKINAWAN MUSIC TRADITION IN A MULTI-ETHNIC COMMUNITY A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC DECEMBER 2018 By Darin T. Miyashiro Thesis Committee: Ricardo D. Trimillos, Chairperson Frederick Lau Christine R. Yano ACKNOWLEDGEMENTS The author would like to thank, first and foremost, the thesis committee, Dr. Christine Yano, Dr. Frederick Lau, and especially the chairperson Dr. Ricardo Trimillos, for their patience in accepting this long overdue manuscript. Dr. Trimillos deserves extra thanks for initiating this project which began by assisting the author and the thesis subject, Shizuko Akamine, in receiving the Hawai‘i State Foundation on Culture and the Arts Folk & Traditional Arts Apprenticeship Grant with support from Arts Program Specialist Denise Miyahana. Special thanks to Prof. Emeritus Barbara B. Smith and the late Prof. Dr. Robert Günther for their support in helping the author enter the ethnomusicology program. The author would also like to thank the music department graduate studies chair Dr. Katherine McQuiston for her encouragement to follow through, and for scheduling extremely helpful writing sessions where a large part of this thesis was written. This thesis has taken so many years to complete there are far too many supporters (scholarship donors, professors, classmates, students, family, friends, etc.) to thank here, but deep appreciation goes out to each and every one, most of all to wife Mika for being too kind and too patient. Finally, the author would like to thank the late Shizuko Akamine for being the inspiration for this study and for generously sharing so much priceless information.
    [Show full text]