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San Fern.Ancto Val1.Ey State Co11ege H 0 GAKU

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San Fern.Ancto Val1.Ey State Co11ege H 0 GAKU 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�<?._�?m2l_ o-r:_ �d�9f�.1:.2ll·� al .9l?._�lve�fi' David HcKay Co1� Inc.1 New York .. PART ONE Chapter I Introduction 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.
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