San Fern.ancto Val1.ey State Co11ege

H 0 G A K U· ) II

A I3Tief DtucJy ln Ethno1ogics.1 Histor:tcg�cnphy

})reposing the I1e:r.1 ts of and Nethocls for

presentlng Japanese l1usic. :i.n the Ntu1ic

Curricu1urn of the Sccon.Cl.f�ry Schoo1.s ln

the United Statese

A thesis su�nitted in partial satisfaction of

thc-o requirements f'o:c the dcg:cer� of l\;aste:r of

!·luslc

by

Janst Burch - / The thesis of JG.net :Surch is approved:.

Jl..ll18 19?1

ii CON'rENTS

Part One

Chapter I Introduction

Preface 1

Definitions 2

Need for the Study 4

Sources of Research 8

Chapter II The Heritage of Japanese Music: 11

Gagaku, Fifth Century Court �1usic 13

Shomyo, Eight Century Religious Chant 17

Nogaku, Fourteenth Century r1usic of the Noh Plays 19

Biwa Music, Three Styles 23

Heike-biwa 12 Century 23

Satsuma-biwa from 17 Century 24

Chikuzen�biwa from 19th Century 24

Chapter II Instruments of Hogaku

The Koto, a thirteen stringed zither 27

Shakuhaki, a five holed vertical flute 29

Shamisen, a long, three stringed lute 31

Chapter IV Nagauta, Folk and Theatrical Arts

Nagauta, a style genre J4

Folk Theatricals: Noh, Kyogen, BtLYlralru and Kabuki 35

Folk Songs (Minyo) and Folk Dancing (Mlnzo Gaino ) J6

111 Pa-rt Two

Implementation of Hoga.ku in the Classroom

Preface 39

Background Assumption 40

11aterials 42

Teachers ' Guide 45 Appendices Annotated Index of Plates Identifying "Domain11 Ob jectives 58

Origin of Folk Songs 62

Japanese Pronunciation Guide 63

Plate I Cherry Blossoms ( Sakura Sakura ) 65

Plate II Kagome, Kagome 68

Plate III Hotari Koi 71

Plate IV Zui, Zui Zukkorobash 74

Ple.te V Toryanse 78

Plate VI Kuroda Bushi 81

Plate VII Saitara Bu shi BL� Plate VIII Songs of Kiso 87 Plate IX Lullaby of Itsuki 90 Plate X K��sku Tanko Bu shi 93 Bibliography 96 Tape Recording of Plates I through X performed by Nil<:io

Nonoshita , Japanese Youth. This tape is prepared as

a teaching aid for the classroom . Correlated Over-

head Projectals of the scores are included in the

media-package.

iv ABSTH.r'\Gr

HOGAKU

A Study in Japanese Hus:lc:

for the Secondary Schools

by

Janet Bu:l:-ch

1•1aster of' Arts in Nus:l.c

August, 1971

This thesj.s � Hogaku, concerns its \>·r:citl:ng '\..Ji th the methods and valus of using Japanese Nusic in the Seconclar:r

Classroom in the United States. The thesis is in two parts�

Part I j_s a bl'ief ethnological historiog:r·a.phy. research authorities pol:r1t o·nt that Japa11 today supports t·vro mu.sicn1 cu1:tu:rest one re.,. latj_ng to tradj_ tj_ona1 music a.nd o:ne :r:eflecth'lS He stern mwic.

1'he mus1 c. that is un:lque1y Japanese is te:r.ntcc1 Hogal<.u o Eth·� no1og;y� is the study of' music of a cult;ure othel" than. ones mm 11h:J.le historlog:caph.y l:Ufl.ybe defined as a process of

Part II, therefores consists of collected material on Japan: s musical history. East: ern m11si.c historJr is as extensive as our l·lestern musical histor;y therefore the need for selectivity is evident& Correspondence with Shigeo

Kishlbe of the Internaltio:nal Institute of Comparative

Nusic Studies at the University of Tokyo has guided the investlgator to a paper compiled by the Society of Research

in Asiatic Nusic for the Japanese Nalti.o:nal Cormn:i.ssion for

UNESCO. The guidelines in this paper� entitled Jh�. Prese�t

vlded the structure upon which the research of Part I was l'Tritten�

Part II presents detailed lesson units of classroom implementation of the material in Part I plns ten se1ected

..Tapanese foll{ songs provided in ten plates j:n the appendices�

The implementation ls not for enrichment classes but folloN·s the cuTrent trend of inter-cultural studles. 'I'eaehers must adapt rather than adopt e 'l'he eJ.ementa.ry school expectanc5.es

:necessary for backg:eound of the stuclents are simply tl"J.ose

stated j.n the 1971 California State r'ius:tc Framevwrk. 2 'l'he ') te.xo:ncrmies 1.11 current educative thinking J are identiflcd by behavior objectives with each lesson plan� Pre-test� post=test and e�raluatj_on suggestions aTe offe:red for those who teach w:tth the cu:r.rent Planned I-rogrmr; BudgBts sy�:;t(nn.

Correlated tape ancl transpariences aceompar1y the scores

of the flak songs 11:1 the appendices� The tape is prepared by a native Japanese youth as an instructional aide� The 3

tTanspa:ciences reprod1J.c-.e the scor-e plates thus their project- ion s om instruction enables clas �c o to be precisely focused as the native sonorlty sounds from the tape.

The implementation offers procedure choice that considers individual differenceso It is meant to be complete and. p:r.actical� .1\n extensive bibl:lography is provided the

. reader for greater il1··>Clepth interest e

1 e Vl:tlliam P. Ivialm Jauanese 1-lusic and 1'·Ins1cal Instruments

Rutland -�-·------f Vermont: criE:T:t.es E G --T1ittleco:�--·fsf65.

2. Kyme, G1� et alo, !•lusic Frame1i•rork for California Publj.c Schools, California state-Depa.rtmentofEdi.lcatj.or1; ·-sacrEm{en­ to, Califor·nia� 1971, p. 8o

3., Bloom and Krathvroh1 Handbook I-II }a�

PREFACE It is with a desire to create intellectual curiosity and sustained enthusiasm for Japanese music,·Hogaku , that this thesis is written . The reader is encouraged to be sensitive and receptive to the potential of the materials found in this thesi s. The value of the implementation will be proportional to the creative vision of the educator,

The basic goal of this writing then is twofoldo Part

I will present a brief survey of the historical background of music and musical instruments found in an oriental cul­ ture of the Eastern Hemisphere, the country of Japan. From a western point of view, Japanese mu sic could lack the aesthetic impact of our ma jestic organ s and great orchestras. How different Japanese music might have been had the East amplified its Sho, a primeval organ, and its soft reeds! Cog­ nitive facts from the Japan of the past will present Japan-· ese Folklore suggested for use in the American classroom.

The literature is presented by means of Score Plates and an accompanying tape performed by a native Japanese Youth . The tape is prepared as a teaching a.id . The songs are sung in the sequence of the music in Plates I through X. Footage is annotated to allow repetition as needed for instruc.tion.

Use attached overhead projectals found in the med ia package for precise focus of students1 attention. 2

As Petzold1 has urged, the writing is hoped to be such that "any implications the study may have for practices in music education are evident ".

Definitions

Hogaku: Sir Francis Piggott, an early writer in re­ search on Japanese music, gives us insight into the deri - vation of the word. Confucius, the great Chinese philosoph- er, taught the relation of music to life. Confucius' teach- ings said that there are two important things that should exist in a well ordered society: rei, order; and gaku, music .

The chare�cter for gaku, music, is the same as the character for raku or pleasure. 11If mu sic is synonymous �'fi th giving pleasure to everyone ", continues Confucius, "it may regulate undue pleasure and become a god -given measure of purifica- tion."

Japanese Emperors developed a great tast for foreign

( Chinese mainly ) music and believed it to be the height of fashion . A Husical Bureau was established in the Emperor

Nomu household about 773 A.D •• This bureau was devoted. to the study of thi s mus ic. It l'Tas christened Gagaku meaning

"tasteful 11 music.

The chief work of this Bureau was to study the classic- al Chinese dance- the Bugaku and its companion, Sangaku .

1 Robert G. Petzold Directions for Research in Mu sic -- Education Nusic Edu.cators Journal\ January , 19o7.f),. p. 40. It is interesting to note that Bugaku in its original form

is performed on State occasions in the Palace of Tokyo today .

The Sogaku was the Chinese orche stra that accompanied bugaku .

In other regions of Japanese antiquity, we can find an

era of mu sical history marked by song and dance, Gengaku ,

the song of the ri ce planters. Field music was called

Dengaku. Dengaku had a rival, the Sarugaku in which light

comedy pieces were inte�roven. The ru was dropped soon and

the word became indiscriminately used with this new term,

Sangaku . Noh historically is a word signifying ability in

an art, so Nogaku is a dance which �Tas performed between

the old Sangaku and the modern dances . Noh should be noted

as the study of literature , theatre and aesthetics.

Malm2 states that Japan today is support ing two musical

cultures, one related to this traditional mu sic and one re - fleeting Western f-iusic. At the same time there is a mu sic

in Japan that is un iquely Japanese and thi s is termed hogaku.,

Here lies the area of consideration of this thesis.

The scope of the term hogaku would include many forms:

orchestra, chamber music, solo, stage or vocal . The educa- tional signifi cance of hogaku , propose in this paper is that a different , additional and enforcing approach to the American classroom music study can be found in this stud y of music

r 2 • "rilliam P. Nalm ::Tapanese Husic and :Nnsical Instruments - ·- Rutland, Vermont: Charles E:--T1ittleco:-;-19 55. 4

3 from this Eastern culture . The student will realize that the aesthetic goals are the same although the musical materials are valued differently. Melody is the prime construct in the field of ·ethnomusicology.

Eth.Ylolcgy may be defined. as a study of a prescribed culture other than ones o�m .

Historiography may be defined as a process of inter­ preting assembled data that is a record of the past .

This thesis , therefore , proposes to collect data from research and present it as a setting significant to the understanding of Hogaku. This is Part one of this thesis.

In 19 68 , the California !-1usic Educators Association prepared a position paper 4 ba sed on optimistic views to

J. Books of methods of structural analysis useful:.for ·· ethnic mu sic are:

Bruno Nettle , Theory and Method of Eth'1omusicology New York: The Free Press of Glencoe . 1962i- Chapt�r v and VI.

Curt Sachs, Rh[t� and Tempo New York: w.w. Norton and Col , 1953 Chapter I.

Douglas Green, Form in Tonal Music Nel'r York: Holt , Rinehart and Winston, Inc.��5 p. 6.

4. California Music Educators Association: A Position Pap� in Musl£ Educatio� . Guidelines for th� Development of E::q�.a_nded Program� Utilizing the Provisions of the George Hiller Education Act of 1968. December 19"b8'. greater music education potentials generated by the George

E. Miller Act of 1968. It was the hope of the California

Music Educators Association of California that this legis­

lation would provide local school districts with an oppor­

tunity to design curricula to make music and the fine art s a

more valuable contribution to the lives of boys and girls .

Music has been validated as an important face� of our

Armeican culture and as such an education goal.

The position paper was meant to be a base upon which

local school distri cts would bu ild instructional programsa

The Association hopes that school boards , school adminis­

trators and school personnel will utilize the contents of

this gu ide to review their current programs and promote

changes.

The above document enumerates and recommends that the

experience of all students 5 "should explore the potential

of music experiences as they may contribute to the under­

standing and appreciation of other cultures as well as our

own" and also that all students "must examine current and avant -garde musical technique s and styles as they reflect

social trends and needs". The document further recommends that experimental programs "should explore the potential

:for using music in other areas of the curriculum as this t 11 may lead_ to greater appreciation of cultural di versi y •

5 Ibid . p. 8. 6

"Weltanschauung116 is in the proooss of being

developed, •• ,. • • • a new set of values and a new r,qay of finding them, a new image of man!

It would seem, therfore, that music educators must add th� scholarly wisdom, the "basic attitudes, techniques, and nomeclature of the discipline of ethnomusicology" and

"the continuities and uniqueness in non-Western mustc"7 to the acumen they have acquired by training and teaching ex- perience. Furthermore music educators must look "directly at the musical sounds", a concept which in itself may be innovative, "and try to find out where they come from, how they make sense, and how one can learn to appreciate them.

It is axiomatic that all musics do make sense for they al- ways consist of the discipling of tones according to the aesthetic criteria of their particular time and culture11• 8

This insight places music education even more firmly as a part of the general intellectual and cultural life of man.

Prior to 1945 , the curriculum of the American schools give evidence of a chronological recording of the origins

6 translation: l'TOrld outlook. Abraham H. t.J:aslm'l, 11Husic Education and the Pealr. Experience 11, I1usic Educators Journal, 54:73, February;-19b8. Also presented by Mr. TvTaslm'l before the July 1967 Tangler,'l'ood Symposium sponsored by the Husic Educators National Conference. 7 William P. Halm, Nusic Cultures of the Pacific, the Near East and Asia Engler,vood Cliffs: N.J. Prentice Hai1-;-i96'i-­

"8"'Ibid, -- 7

of the American people from Europe. $uch books as Men and

Music in Western Culture9 have pointed out the role music has played in Western Culture: how Western music has mirrored the life, the habits, the accomplishments of the

people of the West. A major textbook in 1940 listed im- portant dates in �

Professional magazines currently feature writing that propose to stimulate educators to explore the rich values of musical concepts to be discovered in music of other cultures.ll The recent interim report of the MENC Commission on Teacher Educationl2 recommends that teacher training in- stitutes prepare educators that have a 'knowledge of ethnic instruments and material suitable for instructional act- ivities in music of other cultures.'

9 Don C. �valter, r.ren and Music in �!estern Culture New York: Appleton-Century Crafts:- 1969� ------10 Seymour H. Fersh, Studying Other Cultures is "In" Re­ printed with permission by the Asia Society from the Nation­ al Council for the Social Studies,Washington, D.c. 1968 Yearbook. 11 Henry Pleasants �fro-American �poe� �mergence of a New Iqiom, Music Educators .Journal, September, 1970, p. 33. 12 Music Educators Journal, October, 1970. 8

Sources of the Research

Information was obtained from native Japanese authorities and American scholars. Recordings, the ad­ vantage of the modern world, provide the student a channel to the sound. But the total musical effect must still be placed in proper cultural matrix.

Anthropological, musical, organological and historic­ al approaches are necessary. The anthropologis�, a "be­ havioral musicologist", places music in a culture and de­ scribes the value that that society, the people 't•rho per­ form this music, attach to the music. Archaeologists that serve anthropology serve to reconstruct historical data from civilj_zations of the past. , Legends, believed through archaeologists studies, do not still produce the sound but they have proven immensely useful to the organologist. The information we can gain by study and description of instru­ ments may well lead us to the product of musicologists.

The basic music vocabulary to discuss music of all parts of the 'llrorld will be used i.e. melody, rhythm, harmony� form, style, tempo, dynamics and tone color. One must also use terms fr.m the Japanese language. If one persists in the use of foreign terms, there is a charm about the new· 9

skill. In addition, most readers must acquire the nomen-

clature of the discipline of ethnomusicology,. A student of

ethnomusicology_must also accept the challenge of imagination

of native sound in native settings and of interpreting non­

Western musical notation symbols.

In addition to correspondence 1-rith authorities of l3 Japan, and collecting data from scholarly libr�ries,- the

investigator is indebted to Akimitzu Tomanaga, a twenty

year old cultural exchange Nagasaki University house guest,

for inspirationa dn native insight. Akimitzu's translations

of writings from the Japanese language, the sharing of his

musical training, and his actual music performance have

been invaluable. The materials sent from Japan by the

family of Akimitzu were of great value also.

It is the hope of the investigator that this impetus

will remain alive, contagious and be the transporition

vehicle for the reader to find this thesis of value in the

unending challenge of modern classroom curriculum preparation.

"Enrichment means an increase of breadth and depth of stu-

11 14 . dents 1 experiences for the entire class. 'I'he investi-

gator hopes the reader will adapt rather than adopt.

lJ Professor Shigeo Kishibe and Associates- International Institute for Comparative l·1usic Studies and Documentation Japan Branch University of Tokyo.

14 Hazel Gibbony Enrichment, The Classroom Challenge Ohio State University1 F.J.Heer Printing Company, Columbus 16, Ohio, 1962. 10

This �rriting, then, is submitted in an inspired desire

to contribute and promote the rich excitement and sensitive

understanding of the Japanese culture. A consideration

. must acknmlledge the difference necessary in material for

a professional performer, an advanced scholar and material

for a classroom of youthful novices. Materials that may

have greater authenticity but also require greater skills,

may be located by the references at the close of this thesis.

The material presented is scholarly in its correctness and

is interesti.ng, but avoids complexities which might deny

the reader access to their use. It is hoped that this ac­

cessibility will give the reader an understanding of music

as a world 1·1ide phenonmenon.

The performance presented on the tape in the appendices

of this thesis was prepared by the investigator and a native

Japanese Youth. Hith contemporary sount'l awareness already

planted in American Youth today, they will surely catch the

vision of the expressive media of the Oriental timbre, of

how it has served to depict Japan of yesterday and how it

may serve to contribute to our common heritage. Chapter II

The Heritage of Japanese r1usic

It seems appropriate to call attention to an interest - ing trend that seems to stand out in the study of both West- ern and Easte�n music. Out of the mythical vagueness of

the origin of music in civilizations , one finds music ad- vancing from a carefree instinctive tradition to a level

of law and logic. "Science based the theory and practice of music on numbers s.nd ratios, and on analysis and syn-

thesis to help in building and tuning instruments, in de­ fining consonanc·e , in systematizing melody and rhythm , in devising musical scripts . n15 Intellectual evolution can

be seen coinciding with social organizations in typi cal

civilizations. The organi.zation may be observed in social

strata. Thus, we see the peasants and vwrking people reta:!.n-

ing what is called a folksong 11rhile the upper class, having the ability to pay , cultivated the formation of a more sophisticated class of musicians . Still higher was the standing of musicians "�;

in the temples or churches, who possessing advanced train-

ing in such disciplines of the time as mathematics, astro- nomy and _philosophy .

15 Curt Sachs Rise of !1usic J.n the Ancien� Horld, East and vlest, New-fork:1:r.H. Norton and Co�, Inc., 194'3. 12

We will see this gradation reflected in Japan. The first clas_s might be the educated musician l'rho reads no- tation and specializes in spiritual music or courtly service.

The second might be the uneducated players of secular music while the third class embraced singers of folk music. Fur- thermore, 1 guilds ' (singers' organizations) sometimes m.. '!l- ed music that others could not use.

The history of Japan may be surveyed by placing it in . 16 four periods. As one expects in any ancient civilization such as Oriental Japan, the first period is based on legend.

The second period is roughly between 522 and 1600 A.D •• It is called the Classical period. During this period, Japan leans heavily on the forms of life as well as artistic pra- tices of China and Korea. The third sees a nation concen- trating on self identity. It is a feudal era iri which the few rule the many. This philosophy could be justified at this time by the belief that a truly Japanese heri.tage for the many was a hierarcpy greater than freedom. The fourth and the contemporary period sees Japan in complete reversal, a Japan trying to contact the 1

n HwS. Strutt­ 16 Romain Goldron, Ancient _§1. d. Oriental Husic, man Company, Inc. Publishers, Distributed by Doubleday and Co, 1968. 17 Hugh Borton, Japanese Hodern Centurx, The Ne"t'r York: The Ronald Press Company, 197o:-- 18 Ibid., p.· 196. 13

herself to Western music and. musical instruments. · This

investigator's twenty year old native, interpreter expressed enthusiasm for the Tokyo Symphony performances of music of

the Classical period of Europe- of Nozart and Beethoven •.

Shamisen, shakuhachi and koto music find enthusiastic lis- teners in concert halls of the western world. Therefore,

it appears that Western music is avant-garde to the Japan­ ese 1'-Thile HOGAKU is avant-garde to the Hestem culture.

Gagak�, Fifth Century Court Nusic:l9 The delightful legends of Japan serve to tell tne student that music was practiced at this time. Legends describe hm-1 an Emperor would co�and the Empress to dance and play the wagon

(Japanese Kithara) at his inauguration. Another legend tells of Korean musicians working with their Japanese col- lec;tgues so that they could perform music at the funeral of their music-loving Japanes Emperor.

19 The order a�d topics for the study of Japanese music and musical instruments (HOGAKU) have been identified by a paper, The Present Condition of Studies in �siatic Music in �an. 'I'his paper was compiled by the Society for Re­ search in Asiatic Husic in Tokyo. It wa.s circulated in mimeographed form in 1957 through the cooperation of the ,Japanese National Commission for UNESCO. It is to be found in many libraries. With.the area of research'for this thesis so expansive, the scholarly guidelines seem wise. 14

r1usically, then, this age represents primitive folk music . To learn more about Japanese music in this ancient time, one would need to go to Chinese sources .

Therefore the music at this point is simple. It is repetitious. There is no evidence of instrumental music and no evidence of art music .

The first major historic period in Japan20 the Nara period (553-794), saw a struggling government using the models of the Chinese in every way. Japan was then a country without cities, government, religious concepts or a written language.

In the summer of 749, the first image of Buddha was completed. This is in the city of Nara. To commemorate this event, the emperor and his court traveled to this site and expressed their admiration by a regal ceremony. H��s of praise were sung by large choruses of priests with mus- clans and dancers completing the occasion. The music for th:ts performance was termed gagaku or court music.

We remember the word gagaku means refined, correct and elegant music.. Bugaku is the term used w·hen the music accompanies the dances . Today this music tradition of Japan has survived and after some twelve hundred years, it still remains close to the original. Because gagaku has b.ad direct

nd 20 '!tlilliam P. f1alm, Japanese' Music a Musical Instruments Rutland, Vermont: C:b.arles E, Tuttle Co., 19.59; 15

influence on the musics of the Asian Continent and remains a delight to music lovers, we pause to examine it. As the western imperial court flourished during the Nara Period, music flowed from parts of the Asian continent. Togaku is the term from gagaku of Chinese origin. Komagaku is of

Manchurian and Korean origin. Careful examination would discover the tl'ro styles distinguished by instrumentation.

Gagaku can be remembered as played by a small orchestra.

It is accompanied by dancers who might wear magnificent costumes and fierce masks. It is an art form that might have parallel in Haydn's duties and performance in the mansions of the Esterhazys. In 710, Emperor Temmu appointed a musical director to train 254 court musicians.

Gagaku, as one of the earliest significant instrumental forms, has the distinction of having instruments in the three basic orchestral units--percussion, strings and 1-Tinds.

The two huge drums are called daiko d��ms in Gagaku percussion. The actual 'skin' or striking area is small.

The drama lies in their impressive visual impact. The musical tone· is a tremendous psychological effect for the dances. The next size drum is the taiko, standing on a stand it is beaten in mythical symbolism of the left hand beat being female, the right, male. The bronze gong is called a shondo. The leader of the group performs on a drum called the ka¥�o. He might be paralleled to the first 16

violinist or the conductor in the ·v.rest. �10 simple sticks are beaten together by the chorus leader. The sticlts are called the shakugyoski.

There are three stringed instruments, the first koto or wagon (lor� fretted zither ) , the gaku-so, a thirteen stringed predecessor of the koto, ( tuned especially for gagaku ) and the biwa. This is a pear-shaped lute with four strings and four frets and is played 't'Jith a small plectrum.

The winds are the mainstay of the gagaku orchestra.

They carry the melodic line and create the distinctive har­ monic sound. The hichiriki is a short, double reed woodwind, the ryuteki is a seven -holed flute of Chinese origin, v-rhile the Koma-bue is a sixholed flute pf Korean origin.

The last of the wind instru.ments is the exotic sho. It has a wind chest and seventeen reed pipes. It is described by some musicologists as the oldest known pipe organ. Its appearance is after a lovely mythical bird. The harmony of the sho is based on seconds, fourths and fifths. The harmonies of Debussy are often si.milarly constructed, 1-Je know that Debussy heard and admired gagaku at the World

Exhibition in Paris in 1889.

These instruments of gagaku are used in various ways and in various combinations, Their use is prescribed by the composition at hand but the m��ner of their use has pre­ se2�ed the flavor of this rare a�cient music. 17

Much of the gagaku music has been preserved in part books with instrument fingerings. Rhythm is marked, us­ ually in four beats. Originallly the pitch of the melodic instruments wasn't a problem. The music was taught by rote.

Today, transcriptions into modern notation may leave diff­ iculty in determining actual tune. Whatever the relation -· ship of modern practice to the original, Japanese gagaku is still one of the rarest and oldest orchestral musics of the �rorld.

Shomxo, �ighth f_entury Religious. Chant: Court orchestra music, gagaku, and the Buddhist Chant ( Shomyo ) can be said to be the ancient foundations for Japanese Art music. All of these have Chinese origin. The terms and development of this music in Buddhism, prompts a compar­ ative relationship to the Japanese art traditions t:r�.t the

Catholic Gregorian chants do to the growth of Western mus­ ical styles.

The shomyo or Buddhist chant is regulated by a large number of rules. These can be found in theoretical books and have since become a basis for later secular styles,.

Buddhism entered Japan through the Chinese culture.

Yearly the Japanese monks journeyed to China to learn the singing and composing of musical chants,. These chants were based on sacred texts ancl originally served to praise

Buddha. In Japan this art became kno�m as shomyo. 19

Music styles in shomyo are a ref�ection of the sects within Buddhism. Shomyo is sung in three languages from the countries of origin, India, China and Japan.

If we wish to study the background of vi estern music, l'ie turn to the collections of Gregorlan chants or some tre­ atise from scholarly monks. If we seek the same in Japan­ ese music, we could look at such works as Shomyo Yojinshu by Tanchi {1163-1237) . r�1ajor facts could be conjectured. frn these conjectures, scholars could study all of Japanese music.

The two basic scales are termed ryo a�d ritsu and con­ sist of five tones each with two auxiliary tones usually used for modulation. � third scale compromises half of each.

In western music the scale pattern is seven wh.ile it is five tones of the twelve in Japanese music. The starting tone of western music may be any one of the twelve, while in

Japanese music only five of the twelve are used for scale construction. Buddhist tames contain problems of moqes, scales, modulations and transpositions. The performance.· practices moderate them frequently in the interest of true expression� The problem of rhythm hinges on the syllabic content of the wo1�s involved in the chant.

Both gagaku and Buddhist chanting, Shomyo, explOit some principles of Japanese music in general. 'l1hese are: one, getting the most out of deliberately restricted material 19

( instruments are not exploited, but a few basic sounds are used in a graceful manner ) and two, the steady beat of

Japanese music is the product of emotional feeling of the msic rather than metric measuration of a recurring pulse.

Lastly, the individual instrumental lines are meant to be heard separately rather than merged as they are designed in

Western music. Fourth, the music uses set patterns. These predictable patterns have significance to the Japanese music as we shall see in our discussion of the theatre.

Gagaku, early Caourt music and Shomyo, Buddhist chant­ ing shm'T tremendous intermingling in all regions of art and liffe of the time. The importance of Buddhist theory and practice must be emphasized. The location and/or the

time of presentation may vary but the accompaniment is · built around singing, the flute and some percussion. This is the foundation of HOGAKU. The western influence in these chants must await the arrival of Christianity to

Japan by the missionaries in the 16th century.

Nogaku, Fourteenth Century !-1usic of the Noh Plays:

Noh, �ore than opera of the vlest, is a total entity of equally performing artsa Noh is a study in literature and the theatre, as well as music aesthetics. Each contributes to the audience's voyage into the spirit world, away from the real. To enjoy the delicacy of the intended union of these arts, is to have received ., the Noh play as 1.ntended • 20

The historic foundation of Noh lies in three early forms. Sa�Agaki is a� early shrine ritual (which perhaps later turned into a popular, comic theatrical), dengaku, dances done in the rice fields and brought into the courts as relief from ceremonial formality and sangaku, an acro­ batic genre introduced by Chinese as an aspect of sarugaku, the shrine ritual play. The mixture of the comic, the re­ ligious and the historic tells one of the spirit of the early Noh plays. Such terms as jushi, ennen and furyu were used for terminology of a�cient theatrical performances. En­ tertainment vras performed in the priestly temples, religious and processions and dancing were all a part of the era of

Noh plays. The Canti Carnescialeschi of the 15th Century

Renaissance in Italy comes to mind as a parallel in \

A more serious spirit entered the Noh drama in the 14th

Century. Kar..nami Kiyotsugu and his son, Zeami, rulers in the Nuromachi period, l'Tanted to change the sarugaku and dengaku to a more serious expression. The Buddhist chant­ ing, shomyo, was a natural musical choice to add since shomyos �'/ere dignified and solemn and expressed the Budd­ hist spirit, important in the new Noh.

Musically, the three dru�s and the flute were retained, a one t.ime Shinto priest under secular patronage combined sacred chanting and popular theatre to form one of Japan's most unusual art forms, the Noh drama'" 21

All Noh plays begin with the tra:dional entrance of the procession of the musicians , first the flute , next the shoulder drum , next the side drum and last the floor drum.

This is from the left, while the chorus enters from the right . The collective term for the instrumentalist is hayaski . There is dignity and mood created by this entry.

The mo�i ar�1ounces the gorgeous costumes of the performers that soon appear.

The performance traditionally consists of five Noh plays and three comedies . The comedies may be heightened speech set in poetic rhythmic units or it may be small folk songs. The mus ic here "t'lould be the flute and drum accompa­ niment. The musical structure of the five Noh plays "rould be varied according to the character portrayed. The Noh plays feature a 1-rorrior, a god or a devil. The musical compliment may be imagined by comparison to Western opera .

As one cannot fit all of Beethoven's sonatas into .one pattern described 'sonatas', so Noh plays do not fit into one mold , but the aesthetic basis of the.play is an intro­ duction , an exposition and a closing .

The flute is the only melodic instrument of the hayaski . Its sound would be quite piercing if played in a.small room but on the op�n stage it is effe ctive . The flute signals the play , accompanies the dance , sets the tempo , adds identifying timbre and gives the pitch for the 22

chorus. Established patterned phrases are devices for

action to respond on the the stage. The audience uncon-

sciously learns to expect certain action as a result of his theatrical aid. There is no detailed rhythmic indica- tion for the flute as it accompanies the choral. The flute must learn to support the declamation of t;he poetry.

Rigid specifics structure the mus:i,cal contributions of the .drums of the hayaski of the Noh. 21 The music of the drums, hot,rever, is of stereotyped patterns arranged in prescribed order.

As already stated, the· singing is of the style of the

Buddhist chanting, solemn and introspective in character.

The Noh singing is a part of the modern society as a social grace as well as it is a part of the stage of the theatre.

A synthesized description might be 'a sparse melodic line1l Study of Noh chants would produce cliches of idiomatic melodic restrictions perf ormed with constant flexible sym- pathetic adjustments between the hyaski, the chorus and

the actors all in.the interests of the aesthetic and dra- matic demands of the play.

The musical notation is done in sets of neumes and is

characterized by elastic rhythm , indefinite pitch and re- stricted melodic movement�

21 See :r.1alm 11The Jlhythmic Orientation o:( Two Drums in the :: ;Jai?an�se Noh P.Ia!1.!§; 11 Ethnomusicology, Vola II, No�J, TSept ember, 19581, pp. 89-95. 23

. The music of the Noh plays is an intergral part of the union of dance and drama. The structure of the Noh plays may be seen by a Westerner as a mosaic as they are inherent around a "theme" rather than a plot with each element re- inforcing the overall mood.

However one views Noh plays, they are a unique time-

less Japanese aesthetic art form music.

Biwa Music: The biwa may be likened to the lute in

the Hester:"l culture. Japanese legend. pictures a·blind disciple of Buddha singing sutras to the accompaniment of the bhTa. Certainly documentation states that the instru- ment came from China around the third centruy. Biwa music is still an element in the overall picture of Japan 's

musical life & 'I'he changing technical advancements of radio, television and films have created. a changing social settina;, but the narrative tradition has risen enough above the folk

level to retain modern Japan 's love of imaginative tales of adventure and love. The Japanese image of a talent culture in knitting the old and the new has served importantly in retention of biwa music in Japan today. IIei�a-biwa during the twelfth and thirteenth centuries was a famous war narration and was created to be sung to the accompaniment of the biwa lute. This tradition 11-as one

in which the narration was chanted to fixed melodies. The lute interludes served to establish the pitch with the singer. Many of the patterns had their origin in the

Buddhist chant, the shomyo.

Although this heika-biwa style is practically extinct tod?Yt it has been carried on in the Satsuma biwa.

Satsuma biwa is one of the biwa styles used today. ------

This bhra �ras a part of the imperial gagaku court music.

As the lute of the Renaissance, music was often a secret and unnotated. Paint�ngs give the scholar clues of per- formance practice,

Legend records the talents of the biv-ra player being engaged to control things of a supernatural origin. As example of such a legend is eight blind biwa priests being engaged to drive poisonous snakes from the grounds where a temple had been built. The success promoted the recall of one famous priest whenever any other natural calamity came about.

This priest, Joquin, was the founder of the Chikuzen school of biwa players. The other main school was the

Satsuma (mentioned above) founded by a priest named I{Ian- shain.

The tradition of the Satsuma biwa is one of alternating vocal and instrumental sections. The notation show·s the text and the name of the pattern to be used for accompani­ ment. In Japanese, there is a variation but riot an im- provisatio:ns 25

The original Satsuma -b iwa was a sort of a "spy" group

alert to job opportunities, perhaps. They would l'Tatch for

national calamities and seek patronage from those in dis­

tress. ' As the need for these spy services began to wain ,

. these "guilds" dire cted their talents to cultivation of

' other kinds of music. Satsuma-biwa became music open to

anyone; people using it as a hobby . Satsuma and Chikuzen

took the ir name s from the district of origins, the term

then becoming a music genre.

For the purpose of thi s research , a synthesis seems

in order. From the 16th century on , a new style of narra-

tive music was in existence. The important idea seems

that this music became popular with the common people; the

style evolved to one less courtly and more appealing dra-

matically. Its style contributed to the arts of kabuki

and the theatre.

The features and characteristics of the biwa are im-

portant to our study. The centuries have made many mod-

ifications to the construction of yhe biwa , but it may be

likened to the Western guitar. An· interesting contrast , how-ever, is found in the height of the frets. The frets

on the biwa became higher as the instrument evolved. The

heike -biwa were higher than the Chinese predecessor but

the Chikuzen and Satsuma frets were still higher.

This construction detail calls forth a need to push

the string between the frets: (contrasted to the western 26

guitar pres sure on the frets ). The strings are constructed

of fut or silk be cause of thi s construction and perf orman ce

practice.

The biwa tone is amplified by the one piece wooden

body and produces the characteristic biwa tone.

The size , shape and construction of the bhva body is

a variant to the production of the sound . Other variants

to the tone are the placement of the tail piece that holds

the strings , the number of strings, the kind of plectrum

used , as well as the he ight of· the frets already suggested .

The choice of these biwa features are guided by specific

music styles of the schools already discussed .

Such speculations as the fan being used as an early

plectrum serve to charm and color the students total view·

of the music of the Japa�ese culture.

The characteristics 6f the biwa produce the idiomatic

sound of each style . An example might be the spectacular

element of the Satsuma biwa , a plectrum wide, mad e of thin

wood that resound s when hit against the body of the biwa .

22 Very exten sive re search details on the biwa can be found in Sir Francis Piggott 's The Mu sic and MUsical · Inst.:� �ts Yokahama : Kelly and Ttialsr>:.-:}19"09; p. 135-142 . Chapter III

Instruments of Hogaku

The Koto, a thirteen stringed zither, has beeri said to have been invented by an exiled noblema� to chase away his melancholy, his instrument being a single string stretched across his ha t. Whether this is true or not, the one stringed instrument did exist in China in very early times. Two , three , f ive and seven stringed instruments can be found in the evolution of the koto instrument o In typical Japanese ingenuity, invention changed the strings, their length, the placement of the bridges and all other variables in the efforts to create the sound sonority de­ sired.

vlhatever the history of the koto may be . the modern koto is a visually attractive , pleasant sound ing thirteen silken stringed instrument with a two piece wooden body, probably made of paula�mia wood .

The bottom of the koto. would be hollowed out as the biwa while the top piece acts as a plank to cover the lower, thus creating a sound chamber. Changing dimensions of _any part of the koto varies its sonority of tone . Perf ormance practices vary koto tone even more . A variety of tunings ar� ava ilable through: the ad justment of the bridge s. In practicality, the tunings possible become restrictive .

27 28

For example , the gagaku koto uses six tunings . Ad justment of the bridges and left hand techniques of pushing on the strings are variants. The shape of the picks , their mater­ ial composition , the upstroke s, the tremolos, the glissandos ; all are a part of the production of the extremely subtle nuaances of the koto.

The kokyu , Japan 's on ly bowed instrument , is used in ensembles with the koto. Its sound is similar to the violin though it ha s less of a dynamic range . The wid e vibrato is distinctive of the tonal elements we identify with oriental stringed instruments .

Terms necessary to mod ern Koto playing are set in the

Piggott research . 23 The notation appears to be by picture conveying up and down relationship of pitch. The many mysterie s seem to create the admiration of the aesthetic impact of the koto when heard by Western ears . Koto playing is taught in ethnomusicology departments in American

Universities as the University of Callfor!"lia at Los Angeles.

The generic term for koto music is sokoku . The music is divided into two types (like the Western guitar ), one can sing w't th the koto or it can be used as the in strument alone.

The main stream of the koto is strictly instrumental ..

Its pieces are termed shirabemano. The term "dau11 is a

2J Ibid . p. 124. 29

keystone to discussion of form of koto mus ic. The basic

theme is presented in koto mu sic with each successive "dau"

being subjected and interpolated with new material variants .

The shakuhachi is a five-holed vert ical flute. Flute

lite rature is fre quently found tq be an appealing avenue of

approach to music of another culture . The Japanese shahu­

hachi is of Chinese origin . Dr . Tanabe Hisao, 24 a pio-

neer in oriental mu sicology and the first man to lecture on

Japanese Hu sic in a University, provides the student with

originality of interpretati on concerning the shakuhachl .

The early shakuhachi was a small bamboo tube . The

change of design to a longer, thicker constructed instru-

ment lies in the need of the wandering pr:l.ests who played

them, being denied sword s by reason of their religion . They

found in the greater shakuhachi a protective weapon , as well

as a mu sical instrument .

Popular theatre tunes and folk songs are played on the

shakuhachi . The charm and future of the shakuhachi lies in

its use in solo mu sic or with a chamber ensemble in the

home or in a small concert sett ing . Hestern attempts to

equate more volume and intensity of timbre by massed group-

ings of shakuhachi have lead do�m the road of misconception

of Japanese music. Its refined lightweight texture may

satisfy a need for tran quility in any culture .

· 2�Dr. Tanabe Hi sao's identity is described in the fore­ mentioned paper, The Present Condition of Studies in Asiac·

tic Nusic in Jap� . .Reference also, t�·illiam .P � Malm� 30

While fiv.e holes, four on top and one in back, produce standard tones D, F, G, A, and D, there are ma�y other tones available by change of embouchures a"t'l d half holing . At•Tare­ ness of refinement in perf orman ce practices can best be perceived by referring to our discussion of the Noh flute .

Exploitation of the shakuhachi may be perceived in solo techniques.

Characteri stic sonorities of the shakuhachi are the careful perf ormance of grace note s, the constant· dynamic changes and the very free rhythmi c structure .

The literature of this instrument is divided into origil�al pieces, outside pieces and new pieces.

The melodic style and structure of present day shakuhachi dates from the 17th Century . The scales used are termed "in" and "yo" with their permutations. These scales are likewise the basis for Japanese art and folk­ music of the period.

The early form of shakuhachi music tended to be rondo, or a basic melodic motif with int�rspersed sections of new mu s ic. The 11 outside11 category means shakuhacll.i compositions borrowed from music of the shamisen or koto.

The shakuhachi player seems to have cle.verly used its aptitudes to do such things as play a melismatic change of tone on original tone melody. Jl

As mentioned before , the shakuhachi is a 'single line' melodic instrument . The quiet re spite in contemporary

living may be the secret appeal of the shakuhachi .

The Shamisen , a long three stringed lute, played �'11 th

a plectrum , comes to modern .Japanese music during the 17th

Century and is the backbone of Kabuki and Naguata music

today.

The shami sen is made of four pieces of wood . The top

and bottom are covered with a hide of some variety. The

long neck of the shamisen can be disjointed for carrying •

The neck thickness varies as do the three twisted silk

strings. Because the bridge is placed on hide, it s place­

ment is important to the tone ,

The tone of the shamisen is indeed unique . Beside its

string quality , a drum effect is produced as the plectrum

hits both the string and the hide . The lower string vi­

brates into the cavity while the upper on es resounds.

There are three basic tunings to the instrument , the

original or perfect fourth and fifth, the raised second and

the lowered third . The ba sic starting pitch, the , is the

tonality of the composition being performed .

The earliest use of the shamisen was for traditional

story-telling . This early narration consisted. Of the sham­

isen artist telling tales before an audience of common folk .

Snobbery seems to prevail over this early form of narration .

Scholars would hasten on to the shamisen narrative music of the 18th Century found in the Kabuki theatre . Here the vocal style is less intense and the shamisen accompaniment

is less percussive .

The 18th Century shamisen form found in the narrative music of the kabuki theatre is termed Tokiwazu-bushi. The

Stories of Tokhrazu have t.ragic and imaginative plots.

Gompachi and Komuraski is in repertoire today . The story

travels throught the knif.e crime , double suicide of lovers and the bad dream device . The vocal style of this shamisen narrative is a forced vocal tone , high and light . This . high and light tone was found an expre s sive accompaniment

to love scenes in kabuki .

The giant of shamisen narration is found in the 17th

Century Takemato Gidayu� The merchant class of Osaka

presented Gidayu with literary subject matter for the now · famous Bunraku puppet plays . The shamisen style is called

Gidayu-bushi .

A Gidayu singer and the shamisen accompanist in the

bunraku puppet theatre are placed above and to the left of

the puppets. The singer portrays the puppets below who are

very large to overcome their lack of human qualities. The

shamisen in Gidayu and Bunraku puppet drama is heavier with

a thicker skin . The result is a harder tone which is more

expressive to the melodramatic character of Bunraku .

Lyrical music for the shamisen is called utaimono.

Kouta is the term for short songs. The style of these song s 33 1 1 could be described as simple and Q� affected. Today thi s 1 music is considered. light party mus ic. Koto and shami sen 1 · music today is often a hobby , a social club . Thls is 1 much like the recorder societies in the vl e st . 1 1 1 1 1 1 1 1 1 1 1 . � 1 1 1 1 1 1 1 1 1 1 1 Chapter IV

Nagauta, Folk and Theatrical Arts

Nagauta, a tool for exposing Japanese basic music concepts, means 11long song" . Nagauta stands at the center of thi s last purely Oriental (pre-Hestern influenced ) period of Japanese music history . 25

The above discours·e on the Shami sen, the biv-ra , the koto will serve asa background to the reader at this point in the thesis. Nagauta music will again be studied in the portion or, this wri ting when the Kabuki theatre and other areas of dance and drama will surely enhance the investigation of l'mrds on Nagauta at . this time . Nagauto is a style genre of Japanese music contribut ing to and taking from many facets of Japane se musical and cultural life-- both past and present .

The nineteenth century finds Nagauta , originally an accompaniment to the Kabuki drama , perf ormed on the concert stage . The end of the nineteenth century� Nagauta mus ic was an expression of Oriental sonority in both the theatre and concert hall.

25 Halm, , \IT illiam P. , Nagauta , The Heart of Kabuki Mus ic Tokyo ,. Japan , Charles E. Tuttle, 1959.

34 35 1 1

Malm's book on Nagauta should be considered an in 1 depth reference for the subleties of combinations of the 1 musical materials on Nagauta discussed in this paper to 1 date . 1 Nagauta , at its height , was a mature , highly organized 1 shamisen genre . Although interrelated to other aspects, 1 (as the Kabuka drama ) of Oriental mu sicla history, Nagauta 1 is a thoroughly composed music involving formal implications 1 of modern style and orchestration. 1 Folk Theatricals : Noh, �z9gen , Bunraku and Kabuki 1 are· a culmination of aspects of Hogaku disc:ussed . 1 The major kinds of Hogaku today have roots in the 1 period of Japanese history ruled by the Tokugai'Ja with a government center in Edo, novr Tokyo. As always , music 1 was reacting to a change of sociology, rise of the common 1 class and migration of peoples tm•rard the towns and cities. 1

Noh, as discussed, was the fourteenth century and 1 earliest form of dramatic art e en ,light party songs 1 were the ·comedy interludes, perhaps like opera buffa in 1 Western mu sical history. 1 Bunraku, is a puppet theatre genre and as such, was 1 one of the first theatrical in the Osaka area in the 17th .1 to "19th Century . Bunraku was aimed at a bourgeois rather 1 than courtly· audience . 1 1 1 1 1 I 36

Kabuki is another ba sic theatrical of the Edo period .

It is a combination of melodrama and colorful dancing.

Costtunes and settings are indeed an important facet of the

Kabuki theatre .

Folk Son� or � should be mentioned as a category

of Japanese folk musical art . Along with the folk theatric­

al just discussed , they complete the picture of the Japanese

heritage in this area . Since the areas of Japan lacked com-

munication for many years, folk songs can be interesting

attached to their area of origin . It has been said that

"Japanese folk songs have characteristics rarely heard in

other countries, and will present interesting material to 6 those l'Iho �'lant to know Oriental music" . Z

The basic ingredients of the Japanese diet has been

rice and fish, so some early folk songs 1'rere about rice

growing and about acts of f·i shing . In the case of fishing ,

a dance could be. created , pantomining the pulling of the

nets from the water.

Thi s same evolution pattern can be found in work songs

for lumbermen , construction workers and to an indefinite

number of occupat ions and activities of the culture .

Lullabies and love songs were created in Japanese folk

music.

26 Trad itional Folk Songs of Japa!_l . Compiled by Ryataro .Hattori , Published by Ongaka No Torno Sha Corp., 6-30, Kagurazaka Shtnjuku , Tokyo , 1966. 37

M!n�o �ino means folk theatre arts as well as folk dance in Japanese study, non profe ssional theatricals being a part of Japanese culture . The passive attitud e

of the Hest tm;ard entertainment has not made its way into

Japanese life at present . Self entertainment is a part of the tradition, today 's children and adults can make their way through a dance performance or the singing of a folk

song .

The greatest numberof geino l'iOuld be during folk

festivals. The occasion and character of these festivals

are as varied as the contents. A famous comm1mity dance

form would be bon festival . Progressive Universities in America have staged such fest ivals as bon as a part of work­ shops in Japanese Studies, 27 The bon festival commemorates the changing of the seasons. Folk fest ivals have 'props' like stage 'props '. Flower

hats or animal masks would be frequently seen . These folk masks have probably evolved from the Noh masks.

Singing , dances and movements in folk occasions may be

enhanced by instrumental additives. The flute and the

are foQnd in folk ceremonials. The shamisen is found in

community dancing. The drum would surely be present for

visual impact as well as aesthetic color.

27 San Fernando Va lley Stat e College , Northridge , Califor­ nia Summer, 1969. JU

Thus we come to the close of a brief survey of the

Japanese Mu sic� Hogaku . For in depth study, the reader is referred to the bibliography . Select ivity was a ma jor considerat ion of the investigator in this thesis. The choices were made with relation to establishing a frame ­ work that could be implemented in the classroom. PART THO

I:t-1PLEI•JENTATION OF HOGAKU IN THE CLASSROOM

PREFACE It is to be hoped that the axiomatic propert ies of music that East and West have in common may be seen by the etrmological historigraphy of Hogaku just presented .

John Dewey (1859-1953), an influential and distin- guished educational philosopher, ha s founded a doctrine termed pragatism. 28 It is '\'Tell rooted in educational thought . This doctrine proposes that lea1�ing can be in- creased by pr&ctical action, Furthermore the foundations of musical learning point to the pert inent fact that

"learning is a process w·hich begins 1'-T i th a compelling problem and proceeds towar� its solution by the apprehension, clarification and application of meaning 11 , 29

Thus this thesis includes score plates of Japanese folk music to be performed and and enj oyed in the United States Secondary classroom. The songs were selected by the in- vestigator with the assistance of the native Japanese Youth zs---:Foster Hc!1urray , Pragmatism in Hu sic Education Bas ic

Concepts in r1usic Education, The Na· tional Society for the Study of Education, 1958, p. 30.

29 Leonhard , Charles and House, Robert Foundations  Principles of r1usic Education, Ne'I'T York, McGraw·-Hill Boolc Co. , Inc. , 1959. 40

acknowledged in the preliminary statement of this thesis.

This young man has also prepared the Japanese text and the explanation or translation of the Folk Songs. Parts of the

information were also taken from books listed in the

Bibliography .

"Japanese folk songs have characteristics rarely h�ard in other countries, and will present intere sting ma­ . terial to those who want to know about Oriental Mu sic" . 30

11Nu sic is non-verbal . "t-Te must , therefore , use non -verbal means to und erstand it. t�Te do musj.c and learners a dis-

service by not encouraging them to develop a personal , non ­ verbal response to mus ic which may more closely parallel the real meaning than only conceptualizing based upon ver­ balization" . 3� Therefore , a procedure is suggested fDr the implementation of the folk songs found on the tape and in the tables of this thesis.

Background Asslimptions: Growth in music education has been established in the past as a series of specific lea:rnlngs.32 This unit is presented as part of a 11contin­ um of progresslve and systematic development 11 of the elements of mu sic th101.t are assumed by

30 Ryutaro Hattori , Traditional Folk Son_£§_ of Japan , Tokyo .Japan Ongaku-N o Torno Sha Corp. , 1958 ,P. 22J. 31 Heidsiek, Ralph, "Folk _S ong : A Key j;o r·1usic Under­ stand ing11Nusic Journal , publication pending . 32 James L. Hursell, "Grov.rth Processes in Hu sic Education" in Basic Concepts in Husic . Education (The Fifty-seventh Yearbook of the Nati onal Society for the Study of Education, Chicago , University of Chicago Press, 1958 , p. 141 . 41

the investigator to have been a part of the elementary

education of the students now being presented this ur1it .

This study o f ethn omusicology t-rould more readily be per­

ceived by students equipted with certain skills currently designated as elementary school expectancie s.33

The frame of reference for the instructional procedure ·

about to be presented is termed. "average " as the viriter has experienced . The writer rec ownends, however, that

· ethnomusicology be studied tovrard the end of the course

thereby making possible ad justment of the depth of the study

in accordance to the teacher's assessment of class intere sts

and skills. A preview of the tape by the teacher would

suggest pace and pattern of presentation.

33 Kyme , G. et al. , Hu sic Framev'Vork fQ! Caltfornia Public Schools, California State Department of Education, Sac­ ramento, California, 1971, p.8. 4·2

MATERIALS For Hogaku Unit

Aud iovisual

Film Discovering_ the Husic of Japan If 2956 in the Film Catalog for Secondary Schools and Colleges Di st . by BFA Educat ional '""r:led ia Production Bernard Hi lets. Copyright 1971 by the Off ice of the Los Ange les Com1ty Superintendent of Schools Divi sion of Educ­ ational Hedia, 155 �Ve st Hashington Boulevard , Los Angeles, California , 90015 , Los Angeles Coun ty Superintendent of Schools Office Harch 1971 La co 125

Overhead Projectals correlated with scores in thesis appendix media package .

Records 3-12 inch mono re cord s 1vi th a booklet of comment s in the English Language titled The Trad ­ itional Hu sic of �n. Price ;$12.50 from Hihon .Gakki Co. Lt .,--:-tYamaha ) Ginza , Chuo-ku , Tokyo or obtained through local importers .

Tape- Plates I through X perf ormed by a Japanese Youth • Found also in the media package of the thesis,

---Books

The Traditional :Nu sic of Japan published by Kokusai ·Bunka Shink9 Kai , by Professor Shigeo Ki shibe

Fol}� Son_g s of Japanese Children compiled , arranged and a� n otated by Donald Paul Berger, Rutland , Vermont and Tokyo , Japan , Charles E. Tuttle co.

---Scores

Traditional Folk Songs of Japan Ryutaro Hattori , explanatory notes , Masao-shinohar , piano accompaniment . Published by Ongaku-no Torno Sha Corp , 6-JO I� gura zak Shinj uku , Tokyo , Japan . Cost ��2 .50.

(Title in the Japanese Language ) by Kawai Galmfu. The book contain s beaut iful accompan iment s.

Plates I through X of Hogaku thesis A M 0 T I 0 N P I C T U R E ST U D Y G U I D E

lNARD WILETS Film

1uted by BAILEY-FILM ASSOCIATES

FACTs · �levels: elementa ry, juniorjsenior high, college

ct areas: music, social st udies

· 1 : 22 minutes _,.,.4250,00, color only ·/

PSIS ::;se music, like Western music, has a long Ira­ and many famous composers. In a beautiful tea setting, the three major Japanese instruments koto, the shamisen and the shakuhachi-are . Some historical background on the instru- is given. Then they are played, and the ways 1ey fit into current JafJanese life is explained. onal Japanese singing and dancing and a per­ ICe by an ensemble of the three instruments :te the film. � .. QUESTIONS FOR DISCUSSION :PTS . ·· 1. How do Western and Japanese musical scales ... differ? · 1panese music has a long tradition and many > ·2. What are fhe' three main Japanese musical in­ mous composers . . :- st ruments? · one time, the use of cer.tain instruments, 3. How did the koto become a popular instrument? ch as the koto, was restricted to the aris· 4. How is the koto tuned? ' · :racy. 5. How is a tone - raised on the koto? How is it owere my Japanese instruments originated in other l d? untries. 6. How has the style of koto playing changed? 7. What Western instrument is similar to the sha­ e Japanese scale is divided into five tones, kuhachi? iike the Western seven-tone scale. 8. · What uses did wandering Buddhist priests find for the shakuhachi in the 16th century? .. 9. How are wavering tones produced on the sha­ kuhachi?

-�; ·�- 10. How does Japanese musical notation differ from scale Western notation? chi pick 11. What Western instrument is similar to the· sha­ n sam urai misen? 12. Where did the three instruments originate?

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' SANTA MONICA BOULEVARD • LOS ANGELES, CALIFORNit\ onn?� NARRATION . . i\ .

lese music, like Western music, has a long tra­ so unique to the shakuhachi, are made by the move­ l and many famous composers. Th ree of the ment of the head. ' instruments are: the koto, the shakuhachi, It is thought that the shakuhachi came from China the shamisen. Let me first acquaint you with during the 16th century, time of civil wars in Japan. oto. a Many Japanese knights, who were called samurai, many Japanese instruments, the koto originally lost their knighthood and became wandering Bud­ from China and was introduced to Japan dur­ dhist priests. te 8th century. Since the priests were not allowed to carry ·weapons, tlwse former warriors used their shakuhachis to de­ st, the koto was played only by the people in fend themselves. Fortunately for them, the old shaku­ aiace. The common people of Japan never had hachis were shaped very·much like clubs. tnce to hear it Then, about 350 years ago, a musician named Yatsuhashi was taught to Let's listen to an example -·of the music played · by :he koto by a friend of his who was a musician these wandering Buddhist priests - a prayer played � palace. Yatsuhashi, in turn, shared the koto on the modern shakuhachi. You'll notice that music the common people; and, though it became a he reads is different from the music you are used to popular instrument, his friend lost his job at reading. It is read from top to bottom and from right alace. Yatsuhashi is cal led the father of koto to left. Now, let's listen to this musical prayer. :. This beautiful koto is over 200 years old. 1t 3 moveable bridges, one for each string. The Along with the koto and the shakuhachi, another very splayed by three ivory picks. popular Japanese instrument is the shamisen. It is an instrument somewhat like the American banjo. It lapanese scale is different from the Western can either be played by the finger tip, or by a large Instead of being divided into seven tones, the pick usually made of ivory. ,ese scale is divided into five tones. The shamisen can play a melody. It can also act as a to playing, the right hand plucks the st rings. rhythm instrument, when the pick strikes both the �ft hand can press a string to make the tone strings and the body of the instrument. The combi­ r, or it can pull a string to make the tone low- nation of the rhythm and the melody makes shamisen modern koto playing, the left hand, as well as niu.sic very exciting. ng and pulling, can pluck the strings in the The shamisen was introduced from the is!;:md of f;_:�shion as the right hand. Okinawa in the 16th century. At first, it was made listen to a part of a composition by the father out of the skins of a snake. Here is a very old instru­ o music, Yatsuhashi. This piece, Rokudan, is ment made out of snake skin. But beca use there f the oldest known compositions for koto. weren't large enough snakes in Japan, the Japanese used the skins of domestic animals. )to is used today not only in the Imperial Palace lso in religious ceremonies, in concerts, and The shamisen was once used mainly to accompany home - much as a piano might be used. long songs of battles, heroes, and romantic tales. Today it is usetl in the theater, in the concert halls, � is a part of a modern composition by Yuize. It and is a popular instrument to accompany songs ed Nagare which means "Murmuring Waters." and dances. Japanese compositions, like much Japanese �scribe nature. The instruments we've studied are often played to­ gether. To finish, let us listen to the koto ...the hat I have acquainted you with the koto, let shakuhachi ...and the shamisen ...as they are traduce another important instrument - the played together. hachi. - ...... The composer of.this piece was a very famous Japa­ flute made of bamboo. The sound is .Produced nese composer who died only a few years ago, in >wing across a sharp edge in the mouthpiece. 1959. His name was Myogi, and he was also a blind ifferent tones are made by covering the holes koto player. This composition describes the rain shakuhach i. The wavering tones, which are drops falling from the roof of a house. l .

r�c.s f1 r-1 tC. :\ <:.:·:� f1 J., ..._-.�. < f · '":l -1 .--.� · . .. -...... ,

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59 SANTA MONICA BOULEVARD LOS ANGELES, CALIFORNIA 90025 Teacher's Guide

The implementat ion of Hogaku is presented and identified by the taxonomies in current educati onal thinking . The reader is referred to the following three references for precise boundaries and definitives of the teaching-learning interchange found in this structure .

Bloom , Ben jamin s. , et al , Taxonomy of Educational Objectj�, Handbook I: Cognitive Domain, David HcKay Co. , Inc., New York , 1961.

Krathwohl , David R. , et al, Taxonomy .Qf Educational pb j�ctiv:es, Handbook II Affective Domain, David �1cKay Co. , Inc., Ne1v York , 1968 ,

Simpson , Elizabeth Jane , Adapted from Educational Objectives-- Four Domains , ERIC Document Reproduction Service , u.s. Office of Education, Hashington, D.C., 1968 .

For a concise but valuable classification of Education- al goals, the reader is referred to the following table ,

Cognitive Affective Psychomotor

1.0 Knolvledge 1.0 Receiving leO Percepti on

2.0 Comprehension 2.0 Responding 2.0 Set

3 .0 Application 3 . 0 Valuing 3 . 0 Precision

4.0 Analysis 4. 0 Organization 4.0 Articulation

.s.o Synthesis .s. o Charac- .s.o Complex Overt terization Response

The implementation 1-rill suggest the use of pre-test and post-test and grading criteria for those who teach re- spect ing Planned Program Budgets System, e.g. P.P.B.s •• The educational philosophy of , the writer of this thesis 4·6

're commends minimal use of measuring tools . The belief that

co�1itive and psychomotor skills serve the real goal which

lies in the affect ive domain prompts this philosophy .

Follow·ing, then , if a measuring unit is to be used as

evaluation, the writer suggests one developed by student­

teacher exchange of ideas.

Example :

D Needs Improving

C Average

B Good

A Out stand ing and Creative

Le sson One

Materi0ls: (Also see p. 42 of thesis,)

Film-"Discovering the Husic of Japan "

Record- "The Traditional Nu sic of Japan". If one does not have this record , use any available that re­ presents the art music of Japan .

Room Environment : The presence of origami , (Oriental

art created by the folding of colorful paper)

Japanese dolls , library books or pictures of

Japanese Shrines or landscapes are effect ive o

Taxonomy of Learning- A 1.0 Receiving 2.0 Responding

Behavioral Ob jective : The learner will lj_sten and demon­

strate a re sponse of curiosity and intere st. Curiosity

and interest is a suitable size objective for today .

Percept ive teachers will be able to observe intangibles. Procedure :

Step I The investigator likes· to £_o rne into the cl�-

� �e aring §: kimono or a yakata and the wooden shoe s

worn by the Japane se . Such � costume can usually be

found or borrm1ed . The se colorful costumes are just

the "attention getter" desired at this time . It would

be fine economy of time to hav e the sugge sted re cord

playing while class preliminaries are und erway . ShoTtr

the without preliminary verbal comment s. Your

costume has already spoken .

C 1.0 Knowledge

SteQ II Di�� the film. Student -t eacher exchange is

the idea here . Discovery questions may be designed by

the teacher by use of printed guide and na.rration p. 43

and 4.!¥ of this .thesis. There are twelve discussion

questions suggested that will surely contribute to the

deve lopment of the concepts of the instruments·, the

long history of the country , the variety of timbre

and texture and the sound in contrast to our Western

music.

C 2.0 Comprehension

Step III Discuss the challenge that. a new· and curious ;:;;;e_._ -- "armchair" travel subject can offer the stud ent . Also

present the need for self direction and effort to ac-

complish growth. Tell the stud ents that you as the )�

teacher plan to novr pre sent them v-l ith an individual 48

explorator;y: test. The test �rill be returned to each stu­ dent at the close of the unit. The evaluation for the unit will be made by the teacher on the basis of increase of skill. Suggested style of questions:

1. 'Hhs.t are the following?

koto musical timbre

shakuhachi musical texture shamisen scales

bridge samurai

pick kabucki

2. Hhich is older in historical traditions, Japan

or the United States? Twice as old? Or?

3. Hhat religions can be found in modern Japan?

4. v!hat countries are found to be contributors to

the Japanese Culture? What countries have con­

tributed to your culture?

5 . Describe any contact you or your family have had l'Ti th Japanese people or music or the theatre or the arts that may be of intere st to

our class during this study.

StepiV Tell the cJass that as students they are asked to choose a project ,t hat will contribute to their growth as well as the grm1th of their classmates. The projects about to be listed are options . This means that the student should choose what they are most interested in and what best fits their strongest abilities. Tell them 49 that it has been found to be a good study pattern to con- sider options, but it is necessary to make a deci.sion. The list is posted on the bulletin board for further study and the decision is expected next class meeting. The projects are :

1. Draw �he main instruments of the Japanes� �s ic. Write a paragraph to explain what one is to look

for in enj oying your visual . List a bibli ography that you consulted .

C 3.0 Application P 3.0 Precision

be discuss ing in this unit. It is suggested you

NOT lvai t for class discussion .. but use research in- formation. The thesis is on the investigator's

desl{ during the unit, but library research is en­ . couraged because of the greater availability. Plus

will be added to your report grade if you complete

it before the discussion day and act as a leader in the classroom. The class can use several leaders

in any discussion. Topics suggested are :

Japanese Hus ic Group 1. Gagaku , Fifth Century Court Mu sic

Shomyo, Eighth Century Religious Chant

Nogaku , Fourteenth Century Music of Noh Plays

Bir-m Music� He ike , Satsuma or Chil{uzen 50

or

Group II

In struments- the Koto � Shakuhaki or the Shami sen

or

Group III

Nagauta , Folk Theatricals : Noh , Kyogen » Bunraku and Kabuk i

or

Group IV

Folk S ongs and Folk Dancing � Festivals

§.pe cific� of Report : The report shall be in ink

't'T i th correct spelling and sentence formation. (If

in doubt , make a draft. ) It shall be a minimum of

two standard page s. Theref ore , if you are a student

who likes in-depth �tudy , you may choose any part of

the above groups or you may wri te a longer repo"rt .

The point is to cover the subject .

C 4.0 Analysis

). Create a diorama that explains the Theatre art s of

Japan . Explain it to the class. Use a sequence if

you need it. You may do it v-r ith one friend , but

you are completely re sponsible for a project. (Do

not choose a friend ·Hho may change he r-his mind. )

C 5 .0 Synthesis 4. Perform .§:: piece of Japane se mu sic eithe r vocal or

with the tape or record using instruments that you

. think will bring out the character of the composi-

tion. If you perform better when you are without

an audience , you might like to prepare it on the

casette.

P 4. 0 Arti culation

5.  §:.!:! interpretatio..Q of §. folk song , dance. or

�� tivit� that might be � part of §. Japanes£

festival . Do it for the classo You may have not

more than four friend s and you may have independent

study one day out of the classroom, the re st of the

preparation is. home1,rork . Tip : You need relieable

friend s who can remenber 'time'!

P Complex Overt Response

6. 1·1al� e or shON sorne Jananese --art 't>IT Ork --- . See reference � ..::= -- -- in library on origami ·and mobi les. See art folio

in art department . Explain to the class and put

it in the classroom for all to enjoy.

P ).0 Precision

7. �ginate §. pro ject �ot �i sted . Re ceive teacher

approval bef ore beginning . Example- report of

a trip somm,rhe re . In the Los Angeles area , it

might be Japanese Village or Sea \·l orld .

A 5.0 Characterization Lesson Two

Room Environment: The same recording playing as the class

convenes, but hopefully added room dolls, origami ,

pictures and other ideas by students a

Taxonomy of Learnlng and Behav ioral Objective:Stated in

material be ing used from the annotat'ed index.

Procedure:

Step I � the roll while the music is playing . The

writer of this study t'TOuld call roll @:.illi expe ct �

student. to have � decision on their project. As a

method of instruction , the writer would call on students

with enthusiastic performance record.s . The idea is . .

that it produces discussion and invites decision from

those that really haven't thought about it. Delin­

quents would have another day , but at that point , lack

of decision i"Tould requiremandatory detention for more

individual attention from the teacher. Delinquent stu-

dents should be offered the direction to inform the ir

parents of pending de.tention and why the detention.

� and write � the boar� when projects �due.

The writer would consider this study to be in the area

of a week's duration , therefore , t1

hance would be expected idea of student project day.

Step II Ask students to take notes on information.

Students should take notes today and eachday 's class JJ

during the Japan Unit. Notes should be brief and

will be considered a method of evaluation of the stud­

ent's work . Daily documentation is also suggested

since the study is frequently in the Affective Domain .

These notes should be saved and attached to the final

quiz.

Today' s Discussion

Gagaku, Fifth Century Court !1usic and

Shomyo, Eight Century Religious Chant and

Nagaku , Fourteenth Century Nu sic of Noh

and Bil'la r,1usic.

§t_eJ2. III Put ,££ the � and the projectal , both of � provided wit}} this thesis, and tntroduce the stu­

dent to the folk song§_ £_re s�nted il}. the J?lates. Con..;.

versation and. introductory material are positively the

life of the whole idea here , The descriptive material

that precedes the scores on the Plates and the pro-

. jectals are very important tools to understandings .

Step IV Ask the class for ideas on using the classroom

instruments? Expect someone to suggest the similarity

that could exist beti'reen the shamisen and g�i tar , koto and autoharp? Ask the stud ents if performance practice could make them so��d even more similar? Do NOT try the instruments , bu t end the lesson w·ith the 'seed '

of the idea planted . 54

Le sson Three

Record : The same record is alvrays playing as the class

arrive s. By les son three, it is expected o

Room Environment : There should be additions by stucl ents.

The writer of this thesis o"im s a shamisen and a. beau-

tiful koto. The vi sual impact of these is time ly to-

day . The se ins truments would be shovm and played .

Procedure :

Stepi Call the roll vrhile mu sic is playing., Each

student will report gg hi s chosen ]ro ject . Choose

a student 't-rho Hill put these on the chalkboard with

the captions that they are due two days hence . Leave

them on the chalkboard as a daily reminder.

SteP. ll Notes by student s used to review last class

hi storical background discussed . Proceed 'VT i th

notes and d:i.scussion of :

InstrUt11ents- The Koto , Shakuhaki � Shami sen . Greater fami liarity through the film "t-r ill produce discussion. Be sure to touch upon the place of these instrument s in the Folk Theatricals.

Place the name of these theatri cals on the chalk-

board, e.g. N oJ::!, Ky:o,q;en , Bunraku and Kabuk i.

Step III Learn a new folk song by means of the tape

and the projectals . Ask the students wh9.t they de-

cided about use of instrument s in the room , A

good success possibility is useing the autoharp on

the first and familiar Plate, Sakura . Tw o chord s 55

wi ll do the harmonization. If you can transpose to the key of 1a1 minor, it is easier. Some student may decide to do the same on the guitar while a note read­ er will play it on the bells.

Step IV Create a_formal agenda of any students making dioramas of the folk theatricals or Folk dancing •

This will make the next class go smoothly. .. Stress that their project is due the NEXT class meeting . Lesson Four

Recol�: Always playing, but a·new selection of music each

lesson, Room Environment: The same but it is time to discuss the

meaning of the Japanese articles. Example : Does

origami .tell us anything about the personal char­ · acteristics of the Japanese? (They like beauty, have patience and nimble fingers . They are participators with the arts, incl.uding music,rather than spectators ,

Procedure : Go to the blackboard and list some character-

istics that the students tell you they have heard in

the music. �egin your evaluation of the students now.

Document any index of growth in sensitivity to the

mus ic.

Ste_E II. Cal� on students for their assignments .l?er­

taini� to the theatrical arts. Lead discussion into the tonics of the day: Nagauta , Folk Theatrical :

Noh, Kyogen , Bunraku and Kabuki , Folk songs and Dancing,

Step III Teach a � song by the tape and projectals.

Sing any favorites or ?evelop any accompaniments,

Step IV Stress that projects are due next class

meeting. They are all due at the opening of class

and the order of teacher calling for these projects

is not determined in advance, Readiness is the key-.Dote ! 57

Lesson Five

Record : Do not have music on today. The change has im-

portance to the perf ormance of the students and their

projects.

Room Environment : It �

their projects.

Proc.edure :

Stepi Call � first student for project . A strong

student is a great thrust for other more timid students�

Considerable finesse on the part of the teacher creates

more inspired participators. The idea is that any

creative ide� is worthy of respect • .§�� 1.L Review the_ ideas of the unit �

be ready to attach. All projects Hill be complete next class meeting.

Lesson Six

Pro"cedure : �tep l Comp�e te student projects. Step II Give quiz evaluation. Include some questions

on the area of affect ive learning e.g. vJha t do you

like about ______(any phase of the study that

seems to stand out as one thinks back over the study)

Last question presents an opportunity to the stud ent

to evaluate himself • Step . II!_ . Sing ..£!": play � choice of folk song . APPENDICES

A.l'JNOTATED INDEX

"Their authors and composers are totally unknown , but songs respectively reflect the atmosphere of the time l'Then they were created ,"

from Preface Traditional Folk Songs

Compiled by Ryutaro Hatori

Plate I CHERRY BLOSSOf/IS (Sakura Sakura )

Mu sic Emphasis- Harmony

Taxonomy of Learning A 1.0 c 4.0 p 4.0 Behavioral Objective- After singing, the learner shall differentiate the change of chord s via a chalk board and shall create an autoharp or guitar accompaniment .

Plate II KAGOHE , KA.GOHE

Music Emphasis- Hoving

Taxonomy of Leal�ing c 5.0 p . J,O Behavioral Ob jective- After learDing to sing this song, the learner shall manipulate the song to express the folk game . (This is not a child 1s song ! l _ Plate III HOTARI KOI

Music Emphasis- Rhyth�

Taxonomy of Learning c 2.0 A 2.0 P 4.0

Behavioral Objective- The learner shall be conscious of two beat rhythm pattern. The group shall de­ monstrate this by one clap on accented beat while other students volm�teering shall conduct song.

58 Plate IV ZUI , ZUI ZUKKOROBASH

Music Emphasis -·rempo

Taxonomy of Learning p 1.0 A 4.0

Behavioral Objective- The learner shall label the tempo that best characteri zes the meaning of the song. A variety of tempos shall be used by group experiment while singing. Words used in tempo notation shall be placed. on the board .

Plate V TORYAN SE

r.ru sic Emphasis-Dynamics

Taxonomy of Learning C 3.0 4. 0 5 .0 6.0 Behavi oral Objective - The learner shall transfer his perception of melody descend ing and ascending by first raising the hand in contour and secondly by increase in amount of voice, greater dynamics as the melody ascends and the reverse . Plate VI KU RODA BUSHI Music Emphasis- Style , listening to a Japanese tone poem.

Taxonomy of LeaE�ing p 1.0 c 1.0 A 4- .o · Behavioral Objective - The learner shall listen and discuss the sound in terms of variety of acales. Each shall respond verbally their opinion as to the songs identity: Major, minor, pentatonic, or whole tone. The learner shall be assigned a page composition on the place key choice has played in music of the East and of the Hest.

Plate VII - SAITARA BU SHI

Music· Emphasis - Singing . Play an accompaniment of use p. 90 of Hattori reference .

Taxonomy of Learning c 4.0 p 5.0

Behav ioral Objective- The learner shall describe the phrase by drawing a contour midair. He shall likewise differentiate the phrase ending by a gentle finger snap and/or a gentle clap on the accent. (Irregular rhythm varies between 2/4 and 3/4 . ) Plate VIII SONGS OF KISO

Mu sic Emphasis- The non ..ve rbal expressive value of music

Taxonomy of Learning Al.O to 5.0

Behavioral Objective - The learner shall talk about mu sic and how it expresses emotions of peoples, emotions that cannot be expressed verbally. Some 1'-Till research the story ofthis most popular · Bon song.

Plate IX LU LLABY OF ITSUKI Music Emphasis- Mood

Taxonomy of learning A 2.0 p 4 .0 Behavioral Ob jective- The learner shall identify the main pulse by an arpeggio in e minor or the guitar or autoharp . (In the popular air sub­ mitted, an e minor may be used throughout suggesting a koto in authenticity. }

Plate X KYUSKU TAN KO BUSHI

Music Emphasis- Form and Information

Taxonomy of Learning c 6.0 A 4.0 A 5.0

Behavior Objective - This is one of the most popular folk songs . It 1·ras made especially so by the soldiers of \� orld War II. The students vrill readily sing it. This investigator suggests inviting the students to fit it to any of the se form patterns. ABA , ABAB , ABB , or ABC (It doesn 't fit. ) The learner shall discuss and compare form · of a Japanese folk song with form in periods of Hestern. music. Guide question:

1. Do you (the learner) expect a Japanese folk song to have form? 2. 1..J hat period of \•/estern history exhibits balanced form? 3 • Hhat peri od in vl estern history has free form? 61

Correlation of Tapes to Plates

Footage (Approximate )

Plate I Cherry Blossoms 4

Plate II Kagome , Kagome 60

Plate III Hotari Koi 94

Plate IV Zui , Zui Zul{korobash '' 116

Plate V Toryanse 160

Plate VI Kuroda Bushi 220

Plate VII Saitara Bushi 278

Plate VIII Songs of Kiso 340

Plate IX Lullaby of Itsuki 42 0

Plate X Kyusku Tanko Bu shi 470

Correlated Overhead Frojectals

of the Scores are included in

the media package . These are

labeled by title and Plate.

They accompany the thesis but

are in a seperate un it package . 1 Cherry Blossoms 2 Kagome , Kagome 3 Hotaru Koi 4 Zui , Zui Zukkorobashi Origin of Japanese 5 Toryanse 6 Songs of Kuroda Folk Songs on Plates 7 Songs of Saitara 8 Songs of Ki so 9 Lullaby of Itsuki -10 Coal Miner 1 s, Song of Kyushu

The �rhole of Japan 1 s island s are barely equal to the state of California. In spite of this small area, there are many folk so handed down by ancestors . Experts est imate between 400 and 1,000.

. .

til ® ill

[JlTI'

. ·!

Travelers in Japan often comment that most of the folk songs sound alike , but when the expert listens with dis­ crimirtating ears , they dlstinctly hear the difference . The songs from differenct regions have different char­ acteristics. Japanese Pronunciation Guide

.. The short and long sounds of the vowels of the Japanese Language

a as in father

a same but shorter

e as in bed

e same but longer

ii approximately as ee in meet

i same but shorter

0 as in tone

0 as in solo

u as 00 in root

u as 00 in wood

Another variation on the vo"t'rels of the Japanese Language is

a like ah but short

e like the e 1n hep

i like the e in he

o like the oh but short

u like who but short

The consonants c, 1, q, v, and x do not appear , although ch does. The consonants have virtually the same sound s as in

English, except that g is ah•rays hard and r is a sound between the Rn glish r and 1. Double consonants must be pronounced as in English. Each syllable in a Japane se word would be pronounced distinctly , although in fairly rapid speech i and u are often elided , The accent in Japanese is slight and almost monononous

nya nyu nyo

mya myu myo

rya ryu ry.o

hya hyu hyo

gya gyu gyo

bya byu byo ja ju jo

Some common Japanese word s one might wish to practice on :

Ohayo 0/h/yo Good :Horning

Konnichiwa Kon/ni/chi/wa Good day

Konbanwa Kon/ban/�

Arigato A/ri/ga/to Thank you

Sayonara Sa/yo/na/ra Goodbye

Ikagadesuka I/ka/ga/de/su/ka How are you? Genkidesu Gen/ki/de/su I am fine Plate I O S S O M S ! C H E R R Y B L � A k U RA S A k U R A �<') 1

- ._..)( '- < '? -:5 < ? �J l \ (f) 1 ?- ri �':_IJ J-}-rh �i -b\ 1J'-f 17- 1J' < �-�'\ l '\ -t''- Q (� ·� t' �-· . l ) �"' � \. \ �·· �

- Jt-- 1 '- vp- 11' /v Translations of Cherry Blossoms

Beauty rare ev' rywhere ,

Breath of Springtime fills the air,

Clouds of drifting blossoms fair, Branche s swaying in the breeze·, Lovely, fragile cherry trees.

Come and see, come and see

••••the fragrant Cherry Bloom .

or

Cherry blossoms in the :fliarch sky ,

As far as eye can see;

They/re like a mist or floating clouds,

So bright and shining ;

Come , o come ; Come , o come ;

Let us go to see the cherryt 3

3 Hattori , Ryutaro Japanese Folk Son� �- �-=- ��-- �-��- �----- � ------·--

------�--==::-_· -::._-:..._-_-_- - ---

------

------

------� --- · ---·------·-- -- - ·- 68

Plate IT

I. kAG-0 VIB KA G-oME . -b' -c'' t0 jJ' ·� .. ·.!!)

-b" :::.. df; -b'-c·· tfh tJ"· �· . d) 1;; iJ " (}) t:. ') { � . > _, l > ---? t -c·· � - 0 � lh tt (j) ld:''A, t -::.

.r; ?J t. 1:J, en c:. i ",.') r-c 7 L 7J (f) l � 0 dfJ h �,._ >11 j j Kagome , Kagome J This is a folk song that can be played � Akimitsu has J explained it in this way : J J -"One child is in the center of the circle, the rest J of the children make the circle . The child in the center J kneels down and covers his eyes. The circle moves �round j during the singing . When the song ends, the circle stops

- j and the child guesses who is behind him. If he is right , j the child named goes in the center and the one in the · j center joins the rtng . If he is w·rong , he remains in the j center until he guesses correctly ." J The translation is again tied in with the folklore J of .Japan . The child in the center is the bird in the cage . J

The phrase dawn of evening and the 'crane ' . and . 'turtle ' J r i J have come into the translation by route of onomatopoeic J sound of the Japanese text used. j j Translation: Cage , cage , j Bird in the cage . j \'ihen you came out in the dawn of evening , j The crane and the turtle slipped . J Who is behind you? J J J J J j j j j 70

� I tstt.F=C l t-bbG·t Jatt, do. � C c B I C c 0. \ l.jo 0... leQ ""V\o k 'n 'Y\.1 1

��" �1§· �t������r=w�- E- �. �F$ f§r �. ��.� �- �:�t �� - T o.., , \ S«. V'G.t tO �o. � "Tb �(!... �

i

' · l .· · 71

-- �-- ·---� . ' --- -- . - ··· ---�------. ... -- - ····--- .. ------�------. ---- . ------Plate III

liT. · H o T A R U K o r

�� lz 6 � t '

t'� lJ (�-rt G � l) l' · � '? ? Q) d-J- , .. 1J (\: JJ•'· �f

? � ?i (}) J-J- -r�· ( i ;}}-; - J l \ �,. l � ( � ( � - fL Q C l )

� � J-J- -lj �· l �

-;h tv 'C·· n -v- P"J ---c·· J- r� c l \ i 72

Hotaru Koi

The Firefly

The firefly is an insect both familiar and fascinat­ ing to children . This accounts for the popularity of this song.

Come here , firefly !

The '\'later over there is bitter,

But the 11ater here is sweet.

Come through·'; the mountain pass

Come , come again ! 73

-I Plate IV

. ZU I I Z U I Z U K-K 0 R o BA 5 HI

� " -? C}.. L . 1" L -t'\ -i" �. 0 I

t � t ) I 'L f'. - i'' . 1'� -c 1-J �--

-c·· � ;}-]� -t _, .. l )

-J;� -; I �·· I \. 1? >h �1.-"{" {-. ''/ Co './ � ..V

. ' JG. tt K - ij t_"� c L L j: t-:. ih 0 n 1rJ -t··dJ -Jr � Jh

� � Y; - ) + ::z_ r; - . } -4-:.z.. 0

� � fL -)J'�' 1? t . � � C::" () -c �· v 17 '7) -11'� � 1J'�· J: h,

l) · �- � � � 1J - � L.� . L ) 'C.. n i h ') c··. 1? "5� >D fv

�-'- _l -� -- � 0) -·· ·- r-'- �� - - � --� 75

Zui, Zui Zukkorobashi

This song is not a nonsense song but a song with sound of zui zui representing the onomatopeic sound of making a bean paste , The seed are ground in a large porcelain bowl that is ridged on the insid e surface, The actual sound comes as the pestle goes around the bm'll,

Tea wa s a present to feud al lord in Japanese history .

Japanese custom is full of parad es and fest ivals wh ile the mouse eating the rice from the rice sack in a Japan ese house is familiar. The song suggests the Japanese child who accidentally drops his rice bm'i"l may be in trouble when his parents kn m-1 !

In other words, this charming song is a rhythmic presentation of enj oyable sounds the meaning of whi ch ma}re a kalidescope of concepts from Japanese life.

Sesame -flavored bean paste, zui

Being pursued by a line of tea jars , toppinsha .

If I cannot pass through , don doko sho

The mouse living in the rice sack , chu , chu , chu Even if your father calls you ,

And even if your mother calls you ,

You had better not go home .

Who broke the rice bowl at the well? (U

------·-- �------�------· ------.

:t==1 2.u. � �6 vo ba.. sh;

E+¥' •

� 'h\ o a. ICc..d· +Q.. c.{,..u \ 77

. K:' t'o a.!. PQ c; e... � 2. v.. '\ , "2 '-'- ' '2 c..w Y o b (,

"'� � 0� r ;r_ '}" � :=:t: � 0( \ � (JJ (/} -\ 0 r d.o 'nO 'j I

�-�CJ 1=:!\. \ 0: ---i\j��--� _6> _, *= "'rnG��.o We!.. V't de_ 0 c,.l,€1_ (.()a,., V')

. LA D� p l c) l ('?� CJ� C>� t:J � l 1"'--��� I 9 V Q.. K� +a.. "'0 de:- • P-:Ua::te; V

.

-TORY AN S E · ...... --·· ······ ·····

'c d?' . l) � lv -t±

'c. h l) � � -t. . t "b' � � fL- -11:

. � � l � t" "C Q) { � 1 2-t· ? !_;·�

-r A-- �;,· fL, l_t J.� { � 1: Jt -5 c·�

-5 j: -? t. . · c ;J.; l -c- < r� · L Sf fv �

�·· .t :.-; n 1J t \ ?J dJ t ;t:; Lk -ll: db

"L n "C OJ IJ. Tj v-; h i?' t' lh \ ' I -c

. -:h' ;?, , tt·· ! · -;!;- ( Jh I ( J. \ ' � l 9 l) � \d: j: ll d: l> p� � t) ld: c Jh t) � Jh L ' TJ �h· 6 fJ 'C h � � � -tt 'C B u� � -tt Toryanse

The presence of Hi storical religious thought in Japan . is found in the many Shrines. Shintoism, Buddhism and Con-

fucianism have represented the main stream of religious

thought in Japan . These religions have evolved into

political thought and into the total philosophy of the

Japanese people . So you see v-rhy we would have a folk song

that all Japanese wish to go to a shrine.

· Toryanse can be played like the familiar American game

of London Bridge. Two children form as arch and the circle passes through with the arch coming down at the last. If

caught , you become a part of the arch and if no t you con- t. inue on in the circle as the song is sung again .

Please go on through . Please go on through.

What is this small lane?

This lane leads to the Tenjin shrine .

Please let me go through .

Move over a little so I may go through .

If you have no special business at the shrine,

I cannot let you pas s.

I am going to celebrate the seventh birthday of

This child accompanying me , and to dedicate a

Good luck piece to the shrine.

I am not afraid to go for the way is safe now.

But coming back it will be dark and dangerous

Never mind . Even if it is dangerous, Please go ri�ht on through.

[8(1 - .

Pla:.t·e; V:E . KURODA BUS HI < 0 t-·· s�· L

� - tT \ ct - � n Jh - en Jf)

· d)

7P d7 {; t - t \ 3 fJ) �d)-�- ') -�

0) J-r -- t � - . t J: - - 'C .. 1 � dJ -(, - TJ 6 I J '· --

. - - C Jh .z··I � C t OJ -

.( 0 - �-·- J , . - L. Ohara Songs of Kagoshima

Flowers at Kirishima ,

Tobacco at Kokubu ,

And smoke ever aglow

Above the Isle of Sakura.

Tis seen , 'tis seen

Through the pine forest

The sail of the ship marked

With an encircled cross.

Though I may be gone far away, It will ever visit me in my dreams :

81-reet breezes through the beach pines,

On the isle of Sakura ever dear.

Though no rain rains,

The Somuta river becomes muddy

The water for beauty

The maidens at Ishikihara .

OVer Sakura-· j ima

A mist hungs;

Upon my mind hungs

0 Han , the maiden fair. OJ

sen- k::'etd {\)o � {\..) 0 mG} o' I ft�\) �ti-gc:lZJTiftft%1.p (\)c:. �c.v No- Y'cv · � • .J J �Pce:J 4-h: no )ono +o .r c:..h i "ho - ��-----f2J JJ I :J. 1 Ko �CJ t.:lc.e.- V't 0

� .,1 .£! ..bifj

{ t (/)g::=g cj 0 _J. � b 0<.- - "V\ � V" a..

� .W==Jv Q. . '2. 0 t'v\t=tt.rc::A- l� 0 1"0 i9'"h 0 ��· ===p�J �w�;-�.���:Efl�M· � cL c..- � u- � t.-- ; - . 84-

Blatre WII

SA I TA R A .B V 3 HI �\,Tc 0 J�' l

-=3 - ! -� L � , - - 0) -if-

· - h • - · - - dJ 't·. t ) A, 1J A, L· l J c · l- i)/) !J:-r--- \> -�-I

r � \7 I -. - # I-1 l- '"J.1-- �"'(

1t ? t , )J J:. T� '· - -- J;..

J ;t (� ?· r; --dj- . -+)-- 0-

�- L - 0 - - l J - � -t' � -- -r··

: - � VJ l j:··-r - - - ? - . � - L

-p l,;'?J:-- ) :L i. � ') /t - -' ) � t-c -p l ') J) d: r" h -- L Songs of Saitara

Since folk songs of Japan have been handed do-v.m by word of mouth, we may interpret this song by the tools of any number of legends. Songs like this have many versions in both melody and words ,and interpretation.

On Matsushima the port

Stand s Zuigan ji the Buddhist temple ;

As the sea is in front And the mountain on the back ,

Shoals of fish may abound there .

At Ishinomaki the famed port,

Still more famed is Mt . Hiyori ; In the east and in the west

Avimv may command r1at sushima , ·

And Toshima---all above you .

At the Shrine of Shiogama

The cherry tree in front,

Hhen it blooms in the spring , Romance will be in the air

Over Hi shinomachi the tm,m .

k I SO � :f

� 1n 1--

�-�o;1-Jfv T\:-tj � ��� -r � ��' '\? 7 1h 1

'""? 1J "'(•• 1; - ' ( 1> \) "31 3f3-1" -p==j 3i 31"3� ) 31 3131'

� 7h � , T- 1J 'iPn') C fv

- � . ih --tt � - ') - rc � t J :;·--v =? Jt, 1

- v-·· - 1-c � ' � � -r . 31 3131 -r7 313-13 1 ) 3.1 313 1 ou

Songs of Kiso

Many songs are used by dancers in festivals held along the Ki so river. The songs are chanted and danced. in circles from dawn to dark. The forests of Kiso are very beautiful and have been preserved by the government through the years . This song depicts the woodmen who fell the trees in this forest. They are steering the logs down the river.

11 0 , say, boatman going do't-'m the Kiso,

. How is it at riJount On take? II

"It is cold even in summer.·"

110,. boatman goin down the Ki so,

I wish I could give you winter clothes,

And socks to keep you warm . 11

110, say, boatman going down the Kiso,

How could one afford

To give you winter clother?11

" 0, say , boatman going dowfl the Ki so,

You ordered undergarments Together with socks, do you say? "

11 0, boatman goi.ng down the Kiso,

How is it at Mount Ontake?

"1Tis aglow with the morning sun." OQ tr� '-' Q/ 90

Plate IX:

.L ULLABY OF ITS UKI t ) "'? � d) � �) l) � rc:

15 t· . � . { �··fv�-· � l �" lv � 1)

{ �·· fu 11'i) � - � � -;!?- i) h..- 'Ch l � .. h.. -h'" I ct d: <- --- �"" l � � � - t.,h - �

1? 'C''3 �"� t;·tv vfl'� t;·�-

'f> fL, u t t-.:.. �� J:. -h' L rp

- - - - v-·· � -h\ L t1> d: iJ " h' d: fJ � � - b - ·� _ Lullaby of Itsuki

Th� s is a parti cularly old melody and therfore speaks well for the richness of melody in the Japanese songs . Our singer ( on the record-tape ) has explained it as very common­ ly sung as a lullaby. The translation refers to the Bon festival 't'Thich is a Buddhist festival held in Japan .

I stay until Bon , Bon ;

After that !111 take my leave ;

If Bon comes earlier, I leave here the sooner.

I'm poor like a beggar , beggar ;

You people are goodly people ,

With goodly obi and goodly kimono on .

As for me , if I should die,

Who would weep for me1

Only cicadas sing 1 mong the pines on the hill.

No, not cicadas, but the sister1ll cry ;

O, sister, don't cry , as it hurts me .

If I should die, bury me by road-side ,

Every passerby may offer flowers .

The flowers will be camellias ;

Water may come dm� from heavens.

Plate X COAL V!lNER,B SONG Of KYUS\-\1 kYUSHU TA N kO 8UBl-\I � vp 0 l lJ> ? � h,l: ? � :� L

� 3 iJ\� .. -'( Tl:. -c·· (\. . '-"? t -n··. - . -r· · T-c - . 3. 1 31

d+ \. � '1 f-c: fv-c. q-; - . .J � I � - --c··Ti:

- , ) - Jh lv J. 1) - • i fv t:, "'7 -}r -r�:lt·l if)L"

� - Jf:•" k -[? ---; � � fv lJ't' 1� - iJ'0 �). �/(3� Coal Miner's Song of Kyushu

Kyushu is the island at the southwest part of the

Japanese islands. From ancient history , coal miners from this island have sung songs to lessen the labor burden of their work . Since 1945 , these songs have become popular expecially in Japan but also spreading to other countries of the world . Tbe mes sage seems to have lost importance and the song to have survived py its rhythm and repeating phrases. One might call this a popular song in Japan .

The moon has risen, has risen , yoi yoi ,

Far above the coal mine of Miike ;

As the smoke stacks are so high ,

She may be smok.y, sane yoi yoi.

Over the mountains--one , h·ro, three ,

There bloom double azaleas ;

Though they be beatiful ,

They're all in vain if Sama chan won't

come , sane yoi yoi.

If there 's truth in your words, I'll make my mind , and part with you ! If you 'll make me a girl of eighteen ,

As I was then , I'll part with you ,

sane yoi yoi . ------·•• ,,,_._._,_ ·- •-'U'• ' ---- ·------• "•� 0•'•'''"" ''-"""' "' '-' ' ""'""'" • ,,• .-•••• "'"'"' ' •oc> o'�"""'o '"" "'""'" ,_._._.. _. , .. "'"'" '' •• '• •'. "'> "''']

�� � C> {- Y£.jU..- s: � '-U I t'k,d:cC) - I

' -� ,�' . )f) \ ' "Y\o

1\ 96

Bibliography

Part I

Austin , Hilliam • I:1usic in the 20th Centur;y:. Ne-t'T York :

\{. \·J . Norton , 1966. 662p . -- --

Bunce , \-Tilliam I. Religions of Japan (Buddhism , Shinto, ChristianitY-) Rutland , Vermont Tokyo , Japan : Charles

• E . Tuttle , 1956. Burkhalter, A. Louis. Ancient and Oriental l'1usic Nev.r York : H.S. Stuttman Co. : Dist. ·by Doubleday , -1968-:--

C alifornia Husic Educa�ors Association : A Position Paper il} I1usic Education. Guidelines for �he Devel2.£!1lent of �nd ed ,rrogram� Utilizing th� Provision� of _the George �· I·1iller Educatiol} Act of 1968 . December 1968 . Chamberlain, Basil Hall. Introduction to Konakamuras Kabu _On gaku Ryakuslci : A Sh�--of scingan<1 Dane� Nu sic. 1887 Courant , !IJapon : lJotic� Hi storigue , �ncycloJ?es� ie de la Hu sique'J l re partie,. Paris: 191J. pp. 242-56

Da1-res, F. §ix E���_y s OQ the Ancients., Their Husic and In struments. Oxford : H. Hart ., ltS9J. Fersh , Seymour H. Studying Other Cultures: Looking Outvmrd Is "Il'P . Reprinted with permission by the Asia Society , Washington , D.C. , 1968, Chapter 8. Garfias , Robert. Gagaku , The Mu sic and Dances of the Jauanese Imperial Household . New York City : Theatre Arts Book, 1957.

Grove 1 s Dictionary of !1lu sic and I1usicians. George Grove , ed . -edited by Eric Blom. Ne"i'r York: St . Martin 1 s Press. , 1954. Harich-Schneder, Eta. Roei : The Hedieval Court Songs of Jauan. Tok;y:o : Sophi�iversity Press. 1965 . Kaufmann , �falter. i'Iu sic Notations of the Orient Bloomington ,

Ind.iana : University Press, 1967-.- --

Kishi be , Shigeo and Eishi Kilckm-ra . The Present Condition of · Studies in Asiatic Husic in Jauan. Translated by Profess­ or Kishibe . Bibliography contains 'Unpublished Horlcs 1 I Kraus, Alessandro . La l1 usig,ue � Japon. . Malm , vlilliam P. 11A Bibliography of Japanese Hagazines and Music11 • Ethnof.iusicology , 3 (1959), p. 76-80.

I-ialm, vlilliam P. Japanese Husic and r1usical Instruments. Rutland , Vermont : Charles E. Tuttle Co. , 1965 . ------Nusic Cultures of the Pacific, the Near -East-­ and Asia. Englevwod Cliffs, New Jersey: Prentice Hall. ------Nagauta: The Heart of Kabuki Music. Rut land , Vermont : Tokyo, Japan : Charles E. Tutte Co. , 1963.

New Oxford Histo:r.;z of Nu sic, The . First Edition 1957. Reprint 1966. Great Britian : Oxford University Press, Vol. I, An cient and Oriental Nusic. Nomura , Francesco Yosio, 11I1usicolog in Jauan since 194511 Acta Husicologica , Vol. XXXV , 19� 3, Pasc IITIII .

Piggott, Sir F. T. The Hu sic and Nu sical Instruments -of Japan. Yokohama7"K elly and Vlalsh, 1909. Prentice-Hall History of r.Jusic Series, The . Englewood Cliffs-; Ne1;.r Jersey : Prentice Hall, 1965. Vol. 3 I1alm , William P. Music Cultures of the Pacific, the Near East and Asia.

Purcell, Hilliam L. An Introduction to Asian 11usic. Ne1'r - ---- York: Asia Society, 1966.

Piggott , Sir F. T. Principles in Tunins; of the Nodern Japanese Koto. Yokohama : Kelly and Halsh, 1892-.

Sachs , Curt . The Rise -of I1Itl.sic in the Ancient World , East ana: vle st. New York : ltf . t,T . Norton and Col, Inc. , 19�

Schneider, Marius. Primitive r1usic in Hellesz, Es;on . ed An cient and Oriental .Nusic. London , Oxford University. Press, 1957 .

Sunaga Katsumi Japanese Music Tokyo : Narazen. , 1936. Board of Tourist Industry . Tourist Library. Suzuki , Daisetz T. Zen and Japanese Culture . Bolingen Series LXIV Pantheon Books , 1959.

Tanabe , Hi sao Japanese r·1usic Tokyo, Kabusai Bunka Shinkoki. The Society for Internat ional Cultural Relations, 1936.

Tanabe , Hisao Japanes� Music Tokyo , Kabusai Bunka Shinkoki The Society for International Cultural Relations , 1959. 98

Part II

Beattie, John vlalter. I1usic in the Junior High� New York : � Silver, Burdett and Company , 1938.

Bloom , Benjamin s. , et al, TaxonomY- of Educational Object­ ives, Handbook I: Cognitive Domain , David I.J:cKay Co. , Inc. , i:·J m'f York , 1961.

Bruner, Jerome s. The Process of Education. Cambridge , Massachusetts: Harvard University Press , 1960. 97P· Din, Freda. The Recorder in School London ; Schott 1965 . 4?p. Gehrkens, Karl Hilson. Hu sic j.n the Jtmior Hi£h School Boston : c.c. Birchard and. Company. 1936.

Hartshorn, Hilliam c. Hu sic for the Academically Talented Student 1g §_e_9onclary Scho_9l . �·Jashington : N.E.C. , 1960 . Heidsiek , Ralph, "Folk Song : A Key to I1usic Understanding" Music Journal , publication pending.

Henry , Nelson B. Basic Conc�pts in Husic Education The Fifty--seventh Yearbook of the National Society for the Study of Education, 1958.

Hunt , Edgar Hubert . The Recorder and Its Husic London: H. Jenkins , 1962. l76p .

Jones, Archie Neff. Music Education in Action : Basic Principles and Practical I'1Iethods. Boston: Allynarid

Bacon, 1960-- Kaplan, I1ax. Foundations and Frontiers -of- Hu sic- Education New· York : Holt , Rinehart and Hinston , i9b"b7 i61 p. Krath1-whl , David R. , et al, Taxonomx·�·of Educational Obj­ ectives, Handbook II Affect ive Domain, David NcKay Co. , Inc. , Nevr York , 1968 .

Kyme , G. et al. , I·'Iusic Framework for California Public­ Schools, California State Department of Education � Sacramento, California, 1971.

Leader, J. Albert . Audio Visual l�p:roach to Teachino- . Hu sic _!.n Junior High . Ne1·r Yorlc : Helios Books , i9b"4. 95P · 99

Leonhard , Charles House, Robert W. Foundat ions and Prin­ ciples of Hu sic Education HcGraw-Hill Book Company ,Inc . 1959 .

Hadsen, Clifford K. Experimental Re s earch i� Hu sic Engle1-.rood Cliffs, New Jersey, Prent ice Hall , 1970.

Hany Hays to Pla.JL the Au tohar:e, . Book II New Jersey : Oscar Schmidt-Internat i onal , 1966. 32p .

Hursell , Jame s L. Educat ion for Hu sical Growth. Boston : Ginn , 1948. 342p .

Human Values in Ivtusic Educat ion. Nevr York : Silver, '"""""=""B-u-rd ett- and Co. , 1934 .

Nitka , Arthur . The Recorder Gu ide New York: Oak Public­ ations, 1965 . 128p .

Simpson , Eli.zabeth Jane , Adapted from Educat ional Ob ject- Fo11r Domains, ERrc-nocu�Reproduction Service , u.s. Office of EducB.t ion, Hashington, D.C. , �968.

Winold , Allen . Elements of Mu sical ynderstand ing. Engle- 1'Iood Cliffs, Neli'T Jersey: Prentice Hall, 1966 . 4-04p .

Scores

Discovering Nu sic To�ther. Book 7. Compiled by Charle s Leonhard , Beatrice Perham Krone , Irting \'T olfe, Nargaret Fullerton . Chicago : Follett Publi shing Company .

Folk; §ongs of China ,lapan K� . Edited by Betty Warner Dietz. Thoma s Choonbai Park and Betty Har11 er Dietz . Neli-r York : The Hohn Day Company .

Folk Sone s of Japan ese Children. Compiled , arranged and annotated by Donald Paul Berger. Rutland , Vermont and Tokyo , Japan : Charles E. Tuttle Company .

Hayashi , I. Swe i-� Yannyuehdiaw Yanjiou (Shanghai ).

Koyaye , H. Etenraku . Tokyo , 1935 .

Kiyose Yl . Six Japanese Folk Songs from Shinano District .

Piggott, Sir Francis. The History of Music in Sound .

Collection of . Jananese Koto Hu sic 100

Trad itional Folk Songs of Japan Ryutaro Hattori, exPlanatory notes, Hasa"o Shinohar. piano accompaniment. Shinjuku , Tokyo , Japan. Traditional Hu sic of Japan , The published by Kokusai Bunka Shinl{o Kai , by Professor Shigeo Kishibe

Films Discovering the Music of Japan Associated Films , HollYI'rood , California .

Records

Folk Songs _?f Japal! Folk Hays Records, San Fernando Valley State R�cord s to be taped . #2055-2056-3234- 3256. Folk Songs of Japanese Chilc1.ren. Compiled , arranged &.nd --annotated-by Donald Paul Berger, Rutland , Vermont and Tokyo, Japan , Charles E. Tuttle Co. Traditional J:<1usic of Japan , The 3-12 inch mono records \'dth a booklet of coments- in the English Language titled by the same name , Unpublished 'YTorks Kishibe , Shigeo and Eishi Kikkav-.ra , The Pre sent eond ition of Studie� in Asiatic Music i� Ja . Translated by Professor Ki shibe and \oJ'illiam Halm�.

Tanabe , Hisao, Nihon 'no Ongaku : · An Outline of Japanese Mu sic. 1954 Tanaka , Shohei, Dr. Studien in Ge biete der re inen Stimmung. 1890. The first man to transcribe Japanese T1usic into Western notat ion. Teacher of Tanabe and Hiseo, 1. This paper compiled by the Society for Research in Asiatic l'Iusic in Tokyo for the Japanese National Commission for UNESCO and the Japanese National Co�� - 1ssion of IHC . The author of this thesis is convinced

· that this is the avenue of collection guide for material for this study, 101

SPEC IAL BI BLIOGRAPHY

A BIBLIOGRAPHY OF JAPANESE

HAGAZINES AN D MU SIC

Comp iled by �H lliam Po Malm

I. Japanese Traditional I'lu sic in General

Geino Fukko . (The Revival of the Theatrical Arts ). III Honda .Tokyo: Ninzoku Geino Ka i, 1958-, irre gular . 28�

Hogaku no Tomo . (The Friend of Japanese Mu sic ). s. Ki shibe . Tokyo: Hogaku no Kai sha , 1955-, monthly . 34�

Minzoku Gaku. . (Ethnology ). E. Koyama , Tokyo : Minz oku Gakkai , 1929-1933, monthly . Comp lete set approx . $27 .00

Minzoku Geijitsu. (Folk Arts). H.Kitano. TokyoJ :t-1 inzoku Geijitsu no Kai, 1928-1932 , monthly . Comp lete set approx. $28.00.

Nihon Ongaku . (Japanese Mu sic). R. Fu jita • TokyoJ Nihon Ongaku-sha , 1944-, monthly . 11�

Ongakugaku . (l1usicology ). s. Ki shibe . Toky o} ongakugaku Gakkai , 1954-, irregular . 45�

Toyo Ongaku Kenkyu . (Far Eastern Mu sic Journal ). S.Ki shibe . Tokyo : Toyo Cfl gaku Gakkai , 1937-, irregular. 42�

II . Nagazines on Specific Japanese Mu sical Forms

Engeki Sekai . (The Theatre Horld ). K. Tosikura . Tokyo : Engeki Shuppan-sha, 1942-, monthly . 53�

Gagaku Kai . (The Gagaku Society). Ro On o. Toky : Cn a Gai Kai, 1949-, irregular (generally twice a year) .

Gakudo. . (The \-l ay to Learning ). u. Nakajima. Tokyo : Hogaku Kai. , 1952-, monthly . 14�

Hana . (The Flm1ers ) • C. U chimoto. Ky oto : Hinoki Shot en , 1950-, monthly . 7¢ 102

Hosho. (Hosho). s. Yoshihtko . Tokyo: Hanya Shoten, 1922 , monthly. 19¢

Kanze. (Kanze ). M. Uzuru . Tokyo: Hinoki Shoten, 1933-, monthly. 42�

III :Hagazines on \>!estern l"lusic

Kyaiku Ongaku . (Music Education) K. Kohei. Tokyo : Ongaku no Torno sha , 1945 -·, monthly. 42¢

Music Life . s. Kusanoe Tokyo: Shi:nko Gakufu Shuppan-sha 1950-, monthly. 28¢

Ongaku Geijitsu. (The Art of r'lus ic). s. !'t1eguro . Tokyo : Nihon Ongaku Kyoiku Tsushin-sha, 1952-, monthly. 10¢

Ongaku no Shido, (Husic Guidance ). S. Kol{ouchi . Tokyo : Nihon Crr.1 ga�u no Kyoiku Tsushin-sha , 1952-, monthly 24)i

Ongaku no Tomo c (The Friend of Nusic). Y.Kobayashi . Tokyo: Ongaku no Tomo-sha , 1884�c, monthly. 53$i

Philharmony. A., Daigora . Tokyo : NHK Symphony, 1928-, monthly. 14¢

Recordo Geijitsu. (The Art of Records). l'lf. Nakazone . Tokyo: Ongaku no Tomo-sha , 1952-, monthly . 42)i

Si-ring Journal . K. Koike . Tokyo: Svring Journal Corp. , 1946-, monthly� 28¢

IV. Magazines on Dance

Buyo Hyoron . (Japanese Dance Review). s. Yamaura . Tokyo : Shingeino Shimbun-sha, 1957-, monthly, 56¢

Hogaku to Buyo. (Japanese !lfusic and Dance ). Y. r1aiyumi Hogaku to Buyo-sha, 1949-, monthly. 97¢

Kindai Buyo (Modern Dance ). T. Eguchi . Tokyo : Kindai Buyo-sha , 1954-, monthly. 14¢

Ongaku Buyo Sekai. (The Horld of Music and Dance ). J. Kanemoto. Tokyo: Ongaku Buyo-shan , 1949 -, monthly . 28¢