A Performance and Pedagogical Guide to the Piano Music by Makiko Kinoshita a Dissertation Submitted to the Graduate School in Pa

Home , Lemon pie, Makiko Kinoshita, Tanpopo

A PERFORMANCE AND PEDAGOGICAL GUIDE TO THE PIANO MUSIC

BY MAKIKO KINOSHITA

A DISSERTATION

SUBMITTED TO THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

DOCTOR OF ARTS IN MUSIC

YUKA NAKAYAMA

DISSERTATION ADVISORS: DR. RAY KILBURN AND DR. HEATHER PLATT

BALL STATE UNIVERSITY

MUNCIE, INDIANA

MAY, 2011

ACKNOWLEDGEMENTS

I am indebted to many who supported this project. I would especially like to acknowledge the encouragement of Dr. Ray Kilburn, who gave me piano lessons, continuous support and advice for helping me to better understand and interpret the music. I am also extremely grateful to Dr. Heather Platt, who guided me through the dissertation writing process, and Dr. Michael Oravitz, who helped with the analysis of the music. Further thanks are due to Makiko Kinoshita, the composer of this project, who helped me collect all of her scores and agreed to be interviewed.

My sincere thanks are due to my friends, Laura Dallman, Andrew Ayers, and

Peter John. Laura has assisted with the editing and proofreading process of this document throughout its many stages, giving me her time and critical writing skills, for which I am very grateful. Andy has assisted with the recording and editing process, and he has been very supportive and cooperative throughout the long process of recording and editing. He always created a most comfortable recording environment in which I could solely focus on my playing and sound. Peter helped me by designing the CD cover and giving me many interesting ideas in my playing, as well as proofreading and correcting my document.

Finally, heartfelt thanks are due to my family in Japan, who generously supported my studies in the U.S., and to Yuko Ishikawa, a dear friend, who helped me find some of the scores in Japan.

TABLE OF CONTENTS

ACKNOWLEDGEMENTS………………………………………………………… ii TABLE OF CONTENTS…………………………………………………………… iii LIST OF MUSICAL EXAMPLES, TABLES, AND FIGURE…………………….. iv CHAPTER 1. INTRODUCTION……………………………………………………...... 1 Introduction………………………………………………………... 1 Review of the Literature…………………………………………… 2 Significance of the Research………………………………………. 4 Methodology………………………………………………………. 6 Organization……………………………………………………….. 7 2. COMPOSER, MAKIKO KINOSHITA…………………………………….. 9 Life and Works of Makiko Kinoshita……………………………… 9 Piano Music………………………………………………………... 15 3. PEDAGOGICAL AND PERFORMACE CONSIDERATIONS…………... 20 9 Preludes...... 21 A Circuit of Dreams……………………………………………….. 57 Alice in Wonderland……………………………………………….. 71 Works for Children………………………………………………… 97 Hop, hop (1988)……………………………………… 97 The Lion with the GI haircut (1989)…………………. 99 Song Sung by a Dog Looking at its own Tail (1990)… 100 Children’s Song of Africa (1991)……………………. 101 Soft Bavarian Cream (1994)…………………………. 101 A Memorable Lemon Pie (1995)……………………... 103 Waku Waku [Exciting] (2000)……………………….. 104 Uto Uto [Dozing] (2003)…………………………….. 106 Moa (2006)…………………………………………... 106 E.q.quagga (2007)…………………………………… 109 Mother Goose……………………………………………………… 113 4. CONCLUDING REMARKS……………………………………………….. 122 A Summary of Kinoshita’s Piano Music…………………………... 122 My Final Impressions……………………………………………… 124 APPENDICES A A List of Kinoshita’s Musical Works………... 126 B Piano Solo Works with Difficulty Level…….. 137 C Recording Contents of Accompanying CDs…. 139 BIBLIOGRAPHY ………………………………………………………………….. 141

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LIST OF MUSICAL EXAMPLES

Example Page

3.1 Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 1-10………………….. 24

3.2 Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 112-129……………… 24

3.3 Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 51-61………………… 25

3.4a Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 62-71………………… 25

3.4b Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 124-129……………… 25

3.5 Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 1-4…………………… 27

3.6 Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 21-30………………… 28

3.7 Makiko Kinoshita, 9 Preludes, Prelude 3, mm. 1-12………………….. 30

3.8 Debussy, Etude, pour les accords, mm. 1-4…………………………… 30

3.9 Prokofiev, Piano Concerto no. 3 in C major, Op.26, I, mm. 23-24……. 31

3.10 Shostakovich, Piano Concerto No. 1, Op. 35, I, mm. 22-23…………... 31

3.11 Makiko Kinoshita, 9 Preludes, Prelude 3, mm. 19-26………………… 32

3.12 Makiko Kinoshita, 9 Preludes, Prelude 4, mm. 1-3…………………… 33

3.13a Makiko Kinoshita, 9 Preludes, Prelude 4, mm. 16-28………………… 35

3.13b Beethoven, Sonata, Op.10 no.1, II, mm. 1-16…………………………. 35

3.14 Ravel, Forlane, Tombeau de Couperin, mm. 1-4………………………. 36

3.15a Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 1-6…………………… 36

3.15b Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 35-37………………… 37

3.16 Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 53-58………………… 38

3.17 Makiko Kinoshita, Alice in Wonderland, no.2, mm. 45-48……………. 38

3.18 Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 41-52………………… 39

3.19 Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 1-6…………………… 40

3.20 Chopin, Prelude Op. 28, no. 4, E minor, mm. 1-4……………………... 41

3.21a Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 9-12………………….. 41

3.21b Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 60-61………………… 42

3.22 Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 25-33………………… 43

3.23 Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 1-15………………….. 44

3.24 Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 30-41………………… 45

3.25 Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 68-77………………… 45

3.26 Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 10-15………………… 46

3.27a Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 1-4…………………… 47

3.27b Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 26-30………………… 47

3.28 Makiko Kinoshita, Alice in Wonderland,no.5, mm. 1-4……………….. 48

3.29 Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 16-23………………… 49

3.30a Makiko Kinoshita, Alice in Wonderland, no. 5, mm. 69-73…………… 49

3.30b Makiko Kinoshita, A Circuit of Dreams, I, mm. 82-89………………... 50

3.31 Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 49-55………………… 50

3.32 Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 20-27………………… 52

3.33a Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 78-84………………… 53

3.33b Makiko Kinoshita, A Circuit of Dreams, II, mm. 119-204…………….. 53

3.34 Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 35-37………………… 54

3.35a Makiko Kinoshita, A Circuit of Dreams, I, mm. 24-26………………... 59

3.35b Makiko Kinoshita, Twisting Landscapes, II, mm. 15-17……………… 59

3.36 Makiko Kinoshita, A Circuit of Dreams, I, mm. 1-2…………………... 59

3.37 Makiko Kinoshita, A Circuit of Dreams, I, mm. 33-34………………... 61

3.38 Makiko Kinoshita, A Circuit of Dreams, I, mm. 40-43………………... 61

3.39 Makiko Kinoshita, A Circuit of Dreams, I, mm. 1-2…………………... 63

3.40a Makiko Kinoshita, A Circuit of Dreams, I, m. 13……………………... 63

3.40b Makiko Kinoshita, A Circuit of Dreams, I, mm. 55-56………………... 63

3.41 Makiko Kinoshita, Twisting Landscapes, III, mm. 36-38……………... 64

3.42 Makiko Kinoshita, A Circuit of Dreams, II, mm. 1-19………………… 66

3.43 Makiko Kinoshita, A Circuit of Dreams, II, mm. 37-38……………….. 67

3.44 Makiko Kinoshita, A Circuit of Dreams, II, mm. 89-94……………….. 67

3.45 Makiko Kinoshita, A Circuit of Dreams, II, mm. 169-180…………….. 69

3.46 Makiko Kinoshita, A Circuit of Dreams, II, mm. 237-241…………….. 69

3.47 Makiko Kinoshita, Alice in Wonderland, no.1, mm. 10-14……………. 73

3.48 Makiko Kinoshita, Alice in Wonderland, no.2, mm. 5-8………………. 74

3.49 Makiko Kinoshita, Alice in Wonderland, no.2, mm. 11-12……………. 74

3.50 Makiko Kinoshita, Alice in Wonderland, no.2, mm. 41-52……………. 75

3.51 Makiko Kinoshita, Alice in Wonderland, no.3, mm. 1-4………………. 76

3.52 Makiko Kinoshita, Alice in Wonderland, no.3, mm. 21-24……………. 77

3.53 Makiko Kinoshita, Alice in Wonderland, no.3, mm. 33-44……………. 77

3.54 Makiko Kinoshita, Alice in Wonderland, no.3, mm. 56-61……………. 78

3.55 Makiko Kinoshita, Alice in Wonderland, no.4, mm. 19-25……………. 80

3.56 Makiko Kinoshita, Alice in Wonderland, no.4, m. 27……………...….. 80

3.57 Makiko Kinoshita, Alice in Wonderland, no.5, mm. 29-32……………. 81

3.58 Makiko Kinoshita, Alice in Wonderland, no.6, mm. 1-3………………. 82

3.59 Makiko Kinoshita, Alice in Wonderland, no.7, mm. 3-4………………. 84

3.60 Makiko Kinoshita, Alice in Wonderland, no.7, mm. 52-57……………. 85

3.61a Makiko Kinoshita, Alice in Wonderland, no.7, m. 63…………………. 85

3.61b Makiko Kinoshita, Alice in Wonderland, no.7, mm. 83……………….. 85

3.62a Makiko Kinoshita, Alice in Wonderland, no.7, mm. 67-75……………. 86

3.62b Makiko Kinoshita, Alice in Wonderland, no.7, mm. 116-121…………. 86

3.63a Makiko Kinoshita, Alice in Wonderland, no.7, m. 26…………………. 87

3.63b Makiko Kinoshita, Alice in Wonderland, no.7, mm. 104-105…………. 88

3.64 Makiko Kinoshita, Alice in Wonderland, no.8, mm. 1-7………………. 88

3.65 Makiko Kinoshita, Alice in Wonderland, no.8, mm. 89-92……………. 89

3.66 Makiko Kinoshita, Alice in Wonderland, no.8, mm. 76-77……………. 89

3.67 Makiko Kinoshita, Alice in Wonderland, no.9, mm. 74-75……………. 92

3.68 Makiko Kinoshita, Alice in Wonderland, no.9, mm. 88-96……………. 93

3.69 Makiko Kinoshita, Alice in Wonderland, no.9, mm. 140-143…………. 93

3.70 Makiko Kinoshita, Alice in Wonderland, no.10, mm. 1-9……………... 94

3.71 Makiko Kinoshita, Hop, hop, mm. 1-4………………………………… 98

3.72 Makiko Kinoshita, Hop, hop, mm. 16-25……………………………… 98

3.73 Makiko Kinoshita, The Lion with the GI haircut, mm. 1-3……………. 99

3.74 Makiko Kinoshita, Song Sung by a Dog Looking at its own Tail, mm. 1-4……………………………………………………………………… 100

vii

3.75 Makiko Kinoshita, Children’s Song of Africa, mm. 1-4……………….. 101

3.76 Makiko Kinoshita, Soft Bavarian Creme, mm. 12-16…………………. 102

3.77 Makiko Kinoshita, Soft Bavarian Creme, mm. 20-27…………………. 103

3.78 Makiko Kinoshita, Soft Bavarian Creme, mm. 8-11…………………... 103

3.79 Makiko Kinoshita, A Memorable Lemon Pie, mm. 17-20……………... 104

3.80a Makiko Kinoshita, Waku Waku [Exciting], mm. 16-18……………….. 105

3.80b Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 16-18………………… 105

3.81a Makiko Kinoshita, Waku Waku [Exciting], m. 25……………………... 105

3.81b Makiko Kinoshita, 9 Preludes, Prelude 5, m. 21………………………. 105

3.82 Makiko Kinoshita, Uto Uto, mm. 1-3………………………………….. 106

3.83a Makiko Kinoshita, Moa, mm. 1-8……………………………………... 107

3.83b Makiko Kinoshita, Alice in Wonderland, no.8, mm. 8-9………………. 108

3.83c Makiko Kinoshita, Alice in Wonderland, no.9, mm. 1-2………………. 108

3.84 Makiko Kinoshita, Moa, mm. 9-12……………………………………. 109

3.85 Makiko Kinoshita, E.q.quagga, mm. 10-11…………………………… 110

3.86 Makiko Kinoshita, E.q.quagga, mm. 19-22…………………………… 110

3.87 Makiko Kinoshita, E.q.quagga, mm. 27-29 ………………………….. 110

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LIST OF TABLES

Table Page

2.1 Kinoshita’s Solo Piano Music Makiko Kinoshita………………………. 17

3.1 Summary of 9 Preludes...... 55

3.2 Form of A Circuit of Dreams, I…………………………………………. 60

3.3 Form of A Circuit of Dreams, II………………………………………... 65

3.4 Form of “A Mad Tea-Party Never Ends”………………………………. 83

3.5 Form of “The Queen’s Croquet-Ground”………………………………. 90

3.6 Form of “The Trial in a Muddle”……………………………………….. 91

3.7 Summary of Technical Focuses in Alice in Wonderland……………….. 95

3.8 Summary of Technical Focuses in Works for Children………………... 112

3.9 Summary of Technical Focuses in Mother Goose……………………… 121

LIST OF FIGURES

Table Page

3.1 Illustration excerpt from “Alice in the Golden Afternoon”…………….. 72

CHAPTER 1

INTRODUCTION

Introduction

Makiko Kinoshita was born in 1956 in Tokyo, Japan, eleven years after the end of

World War II. The conclusion to the war marked the reopening of Japan to the West, and

the end of an era in which Japan was culturally xenophobic and closed to foreign

influences. Composers of that closed-off generation, such as Toru Takemitsu (1930-

1996) and Toshiro Mayuzumi (1929-1997), retained a more traditional Japanese sound

which appealed to western audiences and composers.1 For example, Takemitsu often

used traditional Japanese instruments in his orchestral works, including November Steps

(1967), and Mayuzumi used shomyo, or Japanese Buddhist chant, in his Symphony

Nirvana (1959). Kinoshita’s music, however, reflects a very different Japan. In the 1950s

Japanese traditions became entwined with those of the West, forming a more blended

culture. Kinoshita’s music does not have the distinctive ethnic flavor western audiences

came to expect after becoming acquainted with the work of her forerunners. Perhaps this

is one reason why her music remains relatively obscure outside of Asia.

Because Kinoshita’s works are not widely studied outside of Asia, the goal of this project is to introduce Kinoshita’s music to the United States. I have recorded Kinoshita’s

1 These sounds were called hogaku or dentou ongaku [Japanese traditional music]. See Hugh de Ferranti, “'Japanese Music' Can be Popular,” Popular Music 21, no. 2 (May, 2002): 197. 2 complete piano solo works2 and, in the following chapters, I provide a supplemental

performance guide to help performers and piano teachers better understand the composer

and her music. The guide includes a brief analysis of each piece, focusing on pedagogical

and interpretive concerns.

Review of the Literature

Resources concerning the life and work of Makiko Kinoshita are very limited.

There are no scholarly studies about Kinoshita written in English,3 and therefore the entirety of my research is based on literature written in Japanese. Through email correspondence with the composer I have also confirmed that aside from two brief articles which were primarily interviews, no-one has studied or analyzed her piano

works.4

Among the available resources, the website Music Composer, KINOSHITA,

MAKIKO: Official Web Site, prepared by the composer herself, is an excellent resource

discussing her life and works.5 It provides a detailed biography, information about

upcoming and past concerts, a list of works including both published recordings and

scores, and her blog. The blog is especially helpful because it provides insight into

Kinoshita’s views on music, art, and her own compositions. For this project, Kinoshita’s

writings will be subjected to careful review and consideration in order to maintain a

balanced perspective.

2 The recording includes her complete piano works as of 2011. 3 There are no records of any articles or books available on RILM, IIMP, Oxford Music Online, ProQuest Dissertations and Theses, or JSTOR. Worldcat contains only scores, recordings and Yoku Waraku Gakuten. 4 Makiko Kinoshita, email message to author, January 23, 2009. 5 Makiko Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site,” http://www.m- kinoshita.com/english.html (accessed January 29, 2011). 3

Another resource is Kinoshita’s interviews with the Japanese PTNA (Piano

Teachers National Association),6 the first of which occurred on 26 December 2008.7 The interviewer, Eiko Sudo, focuses on Kinoshita’s piano works and her life and musical identity as a Japanese composer, bringing to light Kinoshita’s personality and musical influences. Kinoshita’s second interview occurred on 13 August 2010 in collaboration with the pianist Takashi Obara (b. 1960). Obara is known for his interpretations of

Kinoshita’s piano works.8 The focus of this interview is Kinoshita’s piano duet

Labyrinthine Piano (2010), which is discussed by both Obara and Kinoshita.

Compositional style and an ideal interpretation of the piece are the two central topics.

My next resource is the music theory textbook written by Kinoshita Yoku Wakaru

Gakuten.9 Each chapter contains an essay by Kinoshita that comments upon various

aspects of music and musical performance: rhythm, harmony, tempi and articulation. She

also offers valuable insight into the performative aspects of her own music. This book is aimed at people in choir or brass bands as well as music amateurs who want to learn how

to read music.

Other resources include prefaces to published scores, program notes, and liner

notes accompanying CDs, which are often written by the composer herself. The prefaces

6 ピティナ[PTNA] is a pedagogical organization for Japanese piano teachers. Official homepage: http://www.piano.or.jp/ 7 Eiko Sudo, “インタビュー第 11 回木下牧子” [Interview 11: Professor Makiko Kinoshita; Piano Pieces Made In Japan], Piano Teachers National Association, http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed January 30, 2011). 8 Eriko Taniguchi, “特別インタビュー小原孝先生×木下牧子先生対談” [Special Interview: Talk by Mr. Takashi Obara and Ms. Makiko Kinoshita], Piano Teachers National Association, http://www.piano.or.jp/report/news/2010/08/13_11190.html (accessed January 4, 2011). Obara has recorded seven CDs. Six CDs include songs. Obara collaborated with two singers, Yumi Nozaki and Yasuko Kamiya. One CD includes piano works for four hands, Labyrinthine Piano, Nami Records WWCC-7640, CD, 2010. 9 Makiko Kinoshita, Yoku wakaru gakuten [Easily understandable music theory] (Tokyo: Natsume-Sha, 2008). 4 for the score of 9 Preludes and A Circuit of Dreams10 are of particular value because they

contain more information than her other scores.11 The liner notes to the two CDs which contain Kinoshita’s piano works, Trembling Moon12 and Alice in Wonderland,13 are

interesting because they provide background information on the pieces but they do not

contain extensive discussions of Kinoshita’s music.

Although the literature listed above contains valuable information, most of these

sources do not offer specific guidance for the performer: they only offer more general

information. Thus, due to the absence of sustained studies, I have been forced to derive

my interpretations from general discussions of Kinoshita’s music and my own analyses.

Significance of the Research

This project aims to contribute research about Kinoshita’s music. Her innovative

music is rich both for the student and the professional. For example, several of her short

and relatively easy pieces for children have lively and imaginative names. These titles

relate the music to the child’s everyday life and stimulate musicality by binding musical material with familiar situations, things, and feelings. Kinoshita’s more advanced works showcase her original compositional style, which is influenced by the Western classical

tradition, pop, rock, and jazz.14 These pieces often combine rhythmic and harmonic

10 Makiko Kinoshita, A Circuit of Dreams (Tokyo: Edition KAWAI, 2007). 11 The majority of her scores simply include a biographical sketch. 12 The Trembling Moon, ALM Records/Kojima Recordings ALCD-71, CD, 2007. This recording contains A Circuit of Dreams. 13 Alice in Wonderland, Victor Entertainment VICS-61218, CD, 1999. 14 Kinoshita’s compositional style sometimes resembles the styles of Debussy, Bartók, Prokofiev, Stravinsky, Shostakovich, Chopin, and neo-classicists. Kinoshita often encountered pop, rock, and jazz music during her childhood, and she often integrates aspects of these styles in her own music. More details are discussed in chapters 2 and 3. 5 intricacies that present a challenge to the adult performer, yet remain thoroughly enjoyable for the audience.

Yet accessing this wealth of music remains quite difficult. Many of Kinoshita’s solo piano works have not yet been recorded15 and many of her scores are difficult to

find. The Collection of Piano Pieces by Composers for Children contains several pieces

of Kinoshita’s, but others are out-of-print. This collection is used for young students in

Japan, but it is not published outside the country. Kinoshita’s works are also not included in standard references for pianists, such as Maurice Hinson’s Guide to the Piano

Repertoire.16 These factors must contribute to Kinoshita’s relative obscurity outside of

Asia and help explain the absence of her music from current concert repertoire.

Therefore, for this project I have compiled a comprehensive list of Kinoshita’s

piano music, recorded the pieces, and created a performance guide.17 The works of

Kinoshita can add musical variety and technical proficiency to the repertoire of any

pianist. This project will make it easier for pianists, teachers, and students to become

acquainted with Kinoshita’s works.

15 Alice in Wonderland and A Circuit of Dreams are the only two of Kinoshita’s solo piano pieces that have been recorded on compact disc. 16 Maurice Hinson, Guide to the Pianist’s Repertoire, 3rd ed., (Bloomington, IN: Indiana University Press, 2000). 17 The performance guide should serve primarily as a teaching resource for teachers interested in improving their students’ pianism. 6

Methodology

Scores for some of Kinoshita’s advanced piano solo works, such as the original and revised versions of A Circuit of Dreams, are found in the United States.18 The scores of 9

Preludes and Alice in Wonderland, the CD Trembling Moon, and Yoku Wakaru Gakuten

were purchased in Japan. Some works for children and Mother Goose were obtained in

the Kunitachi Conservatory library in Tokyo, Japan. An unpublished piece, Fantasy, and

some out-of-print scores Waku Waku [Exciting], Uto Uto [Dozing], and Memorable

Lemon Pie were obtained by contacting the composer.

My performance guide includes a discussion of interpretative and pedagogical

concerns. I discuss the general style of the works and, in the manner of Hinson’s Guide to

the Piano Repertoire, rate the relative level of difficulty of each piece.19 Barbara

Nissman’s book Bartók and the Piano: A Performer’s View, provided a model for my

project. Nissman analyses the music and discusses performance practices and common

problems a performer might encounter. The book received positive reviews, and, in

particular, praise for the section devoted to performance issues.20 A supplemental CD

includes several of the pieces that are discussed in the book. A second model for my

project was the book Edvard Grieg and His Songs by Sandra Jarrett.21 This book, which

originated as doctoral research, focuses on fifty of Grieg’s 150 songs and discusses each

in terms of style, melody, harmony, text, and accompaniment.

18 9 Preludes can be purchased from www.sheetmusic.com, though the American price is more expensive than the Japanese equivalent. Two libraries in the United States own A Circuit of Dreams. 19 Hinson’s Guide to the Piano Repertoire includes all the piano repertoire of a given composer, briefly explains what each piece is, and rates its level of difficulty. 20 Barbara Nissman, Bartók and the Piano: A Performer’s View (Lanham, MD: Scarecrow Press, 2002). Reviews are: Virginia Houser, review of Bartók and the Piano: A Performer’s View, by Barbara Nissman, American Music Teacher 52, no. 6 (June/July 2003): 96, and David Witten, review of Bartók and the Piano: A Performer’s View, by Barbara Nissman, Notes 60, no. 2 (December 2003): 452. 21 Sandra Jarrett, Edvard Grieg and His Songs (Burlington, VT: Ashgate, c2003). 7

Interviews with Kinoshita further enhanced my understanding of her music. She discussed her identity as a Japanese composer, her influences, and her compositional methods and styles. It was especially helpful to converse individually with her.

Preparation for the recording started in the fall of 2008. After thoroughly preparing the repertoire, I had several recording sessions with the Music Technology department at Ball State University. The recordings were made in Sursa Hall, the main concert hall used by Ball State’s School of Music. Because of the extensive amount of repertoire, it took several days. The editing process also involved working with Andrew

Ayers, a music engineer and editor, for several weeks. He is a student majoring in music technology at Ball State University. To prepare the CD for publication, I collaborated with a graphic designer, Peter John.

Organization

Chapter 2 provides an overview of Makiko Kinoshita’s life and compositions. It concludes with a brief introduction to her compositions for piano, emphasizing her works for piano solo. It includes information from my personal correspondence with Kinoshita, in which she provided detailed information about her life and musical practices.

Chapter 3 discusses pedagogical and performance considerations of each piano piece as well as their musical styles. Each set or group of pieces begins with an introductory overview. The only exception is Mother Goose. Since this set consists of fifteen folk songs that were arranged by Kinoshita, my discussion provides some brief background information and centers on the technical focuses of each piece. 8

Chapter 4 consists of my concluding remarks followed by three appendices and a bibliography.

CHAPTER 2

COMPOSER, MAKIKO KINOSHITA

Life and Works of Makiko Kinoshita

The early years

Kinoshita was born in Tokyo, Japan, on 20 September 1956. She began to play the organ at the age of five and the piano by the age of six. Even though she later learned the violin and flute, her dream was always to become a pianist. Following this dream,

Kinoshita attended the Music High School affiliated with the Tokyo National University of Fine Arts and majored in piano performance. In her interview with Eiko Sudo,

Kinoshita revealed her musical environment in her youth.

…I grew up being more familiar with music from the West than Japanese traditional music. When I was a child, I used to hear my neighbors practicing Für Elise by Beethoven and sonatinas by Mozart and Clementi, not playing traditional Japanese music. This music was some of the first music I listened to. Later pop music, jazz, folk music, and Japanese music (hogaku) mixed with Western music is what I would listen to. I think this chaos shows what the true music of Japan is today.1

The high school years, 1972-1975

While she was at the high school, Kinoshita became interested in composition.

One of her first compositions was a cadenza to Mozart’s piano concerto in D minor K.

1 Eiko Sudo, “インタビュー第 11 回木下牧子” [Interview 11: Professor Makiko Kinoshita; Piano Pieces Made In Japan], Piano Teachers National Association, http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed January 30, 2011). 10

466, for which she received high praise from her professors.2 She was also chosen to

compose music for a musical Christmas Carol to be performed at a school festival. While

Kinoshita still liked playing the piano, she wished to play not only music from western

countries but also her original compositions. Kinoshita remembers her experience of

piano playing in her high school years.

…Sight-reading on the keyboard was no problem for me. I used to play repertoire from all musical periods. However, I was not a naturally expressive player. It was difficult for me to connect with music on a deep emotional level because I could learn most pieces in a short time. My piano teacher always advised me to play more expressively but did not explain how to do so... I could copy how my teacher played a piece, but I knew it did not help my musicality. If my teacher was not there, I was not sure that that I would be able to play musically by myself.3

After graduating from high school Kinoshita took a year off from school and studied

composition with Mareo Ishiketa (1916-1996). She took private lessons from Ishiketa,

but she also practiced composing by herself.

…I went to the library everyday and trained myself to compose fugues and sonatas with an alarm clock. The entrance audition for the Tokyo National University of Fine Arts major in composition required applicants to compose a sonata on site in six hours without using any instruments. It was like a game and was actually quite fun! I knew I should not use any modern harmonies or use modern techniques of composition; instead needed to use only traditional harmonies and compositional techniques. It was during this time that I would compose music in a free and natural style in the mean time for fun.4

Orchestral works, 1976-1996

Kinoshita was admitted to the Tokyo National University of Fine Arts as a

composition major in March of 1976. Her composition teachers at the University

2 Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site.” 3 Sudo, “Interview 11: Professor Makiko Kinoshita.” 4 Ibid. 11 included Mareo Ishiketa, Toshiro Mayuzumi (1929-1997), Kenjiro Urata (b. 1941), and

Shozo Maruta (b. 1928). During 1976-77 Kinoshita composed several saxophone sonatas and saxophone quartets; she was in love with the tones of these instruments.5 However,

she stopped composing saxophone works after 1977. In 1978 she began composing for

orchestra because she became interested in bigger orchestral sounds.6 After writing a

piano concerto in 1978, she completed two other orchestral works, Kangengaku no

tameno isshou (1978) and Koten (1979). They were played in premier concerts. At her

graduation, her university gave Kinoshita the award for the best composition of the year for Koten.

Kinoshita attended the same school for graduate studies in composition from

1980-1982. In her twenties Kinoshita composed mainly orchestral works. Some of

Kinoshita’s awards for her orchestral music include the Nihon Ongaku Concours prize in

1982 for Fantasy (1977) and the “Outstanding Composition” award of the Japan

Symphony Foundation in 1988 for Aura for Orchestra (1986).7 She began earning a

reputation as a professional composer. Yet having orchestral works played was

expensive.8 The only way a composer could avoid paying performers was to have his or her work played as a result of winning a competition. In the early 1980s many music

critics believed that avant-garde music was the “right” trend9 and Kinoshita realized that

she had to focus on showy effects and experimental techniques to win competitions: she

5 Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site.” 6 Makiko Kinoshita, liner note to Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007. 7 The Nihon Ongaku Concours is a music competition in Japan. 8 In Japan, composers who do not have sponsors need to hire orchestra members for their time for rehearsals and performances. 9 Keichi Kubota, はじめての音楽史ー古代ギリシアの音楽から日本の現代音楽まで [Music history – from ancient Greek to modern music in Japan] (Tokyo: Ongakuno-Tomo-Sha, 1998): 184. 12 could not compose music by following her heart.10 She composed seven orchestral works

and two wind orchestral works between her college years and her early 30s. However, her

frustration with not being able to compose from her heart grew more intense. Her

compositional interests gradually leaned toward choir music and songs.

Choral, vocal, and song works, 1980-present

As a result of the difficulties she experienced in getting her orchestral pieces

performed, Kinoshita decided to study vocal music. Her commissioned work Hakobune

(1980) became extremely famous among college choirs in Japan and was performed by

many groups.11 This success led to many more commissions for choir pieces and

Kinoshita was encouraged to compose more and more vocal music. Kinoshita’s choral

works have been sung in concerts and at local and national competitions by a wide

variety of groups.12 For example, Seagull (2008), a recent work for choir and orchestra,

was performed by the Tokyo Philharmonic Chorus and the Tokyo Symphony Orchestra

under Kazuki Yamada (b. 1979). Kinoshita has also been asked to compose songs and

anthems for schools.13 Among her more than eighty publications, sixty-four are for choir and seven are song albums. Choral pieces were the bulk of her compositional output during 1980-1999, and what gained her a national reputation as a choral composer. This is why Kinoshita is mostly known in Japan for her choral pieces and vocal works.

10 Sudo, “Interview 11: Professor Makiko Kinoshita.” 11 A choir group, 東京外国語大学コール・ソレイユ [Choeur Soleil in Tokyo University of Foreign Studies] commissioned Kinoshita to write choir music in 1980. Hakobune for mixed-voice was later transcribed for male chorus in 1987 and revised in 2010. 12 Kinoshita’s choral pieces, such as 春に (Haruni) (1989), have over 212,000 views on Youtube. 13 群馬県立高崎東高等学校 [Gunmakenritu Takasaki Higashi high school] and 金沢市立杜の里小学校 [Kanazawa shiritu Morisnosato elementary school] commissioned Kinoshita to write their school songs. 13

Compositional exploration, 2000-present

In 2000 Norio Fukushi (b. 1945), the producer of Nihon Gendai Ongaku Kyokai, the Japan Society for Contemporary Music, asked Kinoshita to compose a work for percussion ensemble. In response, Kinoshita composed The Trembling Moon for four percussion players. After its premiere, a performance of this work was broadcasted on the radio by NHK-FM.14 This piece seemed to open a door for Kinoshita and she began

composing in multiple genres: opera, chamber, instrumental, and vocal music, as well as

choral and symphonic music.

Kinoshita’s opera Alice in Wonderland (2003), which is based on her piano piece

of the same name, was commissioned by the Mitsubishi Trust Art and Cultural

Foundation in commemoration of the twentieth anniversary of the Mozart Theatre in

Tokyo and is still regularly performed. Its premiere was awarded the Mitsubishi shintaku

geijyutsu bunka zaidan syorei prize. Two years later, the revised Alice in Wonderland

(2005) won the Exxon-Mobile Music Prize.15 Kinoshita also started to compose works

for larger ensembles, such as orchestral works, works for brass band, works for choir and

orchestra (see a list of Kinoshita’s works in Appendix A). They have been performed in

some of the most important halls of Japan, including the Takemitsu Memorial Concert

Hall, Oji Hall, Tokyo Bunka Kaikan, Tokyo Metropolitan Art Space, and Shinjuku

Bunka Center. Kinoshita’s works, such as the song album Four Songs by C. Rossetti

(2000), and the choral piece For Soccer (2003), are regularly performed in concerts all

14 NHK (Nippon Hoso Kyokai) [Japan Broadcasting Corporation] is the biggest TV and radio station in Japan. It is a national public broadcasting organization. It also provides an international broadcasting called NHK World. 15 The vocal score and full score for the opera Alice in Wonderland are available in Edition Ongakuno- Tomo-Sha. While the piano work led to the composition of the opera, Kinoshita largely recomposed the music. The opera only uses fragments of motives from the piano work. 14 over Japan. It is because of these works for various ensembles and instrumentations that

Kinoshita believes she became a well-rounded composer.16

Recordings

As of February 2011, there are thirty-seven CDs and two DVDs containing

Kinoshita’s music. Fifteen recordings include songs. Of these, Jyojyo shohin kyoku shu

[Lyric Pieces] (1999), Aisuru uta [Love Songs] (1995), and Muttsu no roman [6

Romantic Pieces] (1995) have been recorded the most.17 Thirteen recordings feature choir

music and five feature brass bands. There are only a few recordings for wind orchestra,

piano, and chamber ensemble. All the recordings have Japanese labels: Fontec, Victor

Entertainment, Octavia Records, Sony Music Entertainment, and Nami Records. For this

reason, Kinoshita’s music is rarely available in the United States.

General Style Characteristics

Many of Kinoshita’s works have programmatic titles (see Appendix A). Within her entire oeuvre, Kinoshita’s compositions often contrast two broad styles: lyrical and

atmospheric verses rhythmic and bold. The first style can include lyrical, melodic materials and colorful, unconventional harmonies. The second style usually features the percussive use of instruments and irregular rhythms.

16 Makiko Kinoshita, liner note to Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007. 17 Jyojyo shohin kyoku shu and Aisuru uta were originally choir works. Because of the lyrical, simple melodies, charming lyrics, and technical accessibility, they are popular among choir groups and singers in Japan. 15

Most of Kinoshita’s choral music and vocal songs are very lyrical. Her melodies, particularly in her songs, frequently follow the natural intonations of the Japanese language. Her piano accompaniments usually support and lead the melody line and also share many characteristics with Kinoshita’s solo piano music.18

In her chamber music, Kinoshita often contrasts her two broad styles within a set.

For example, Twisting Landscapes for clarinet, violin, and piano (2004) has three

movements that follow an overall rhythmic – atmospheric – rhythmic structure.

Sometimes, however, Kinoshita chooses to focus on a specific technique. In Trembling

Moon for four percussion players (2005), repeated tremolos are used to create

atmospheric effects.

Piano Music

…The piano is capable of so many colors and dynamics that it is almost magical. The piano has become my favorite instrument and I plan on writing more pieces for it in the future. I believe that I can write fresh and individualistic music using orthodox styles without using the aggressive and overly percussive techniques favored by composers of the last century. My goal is to create appealing works that the performer enjoys playing and continues performing for a lifetime.19

While the amount of Kinoshita’s piano music is limited, her existing works exhibit an array of sounds and present diverse technical challenges. Her piano pieces range from simple pedagogical pieces to difficult concert masterpieces that require detailed musicality and technical finesse. While most scores have been published with

18 Kinoshita uses chords as color changes on each beat in the piano part of “For the Moon Light” in Kohu na Tsuki (2008), which is similar to Prelude 6 of 9 Preludes (2001). The piano part of Romantic Pig (1989) shares many characteristics with Kinoshita’s piano music for children: grace notes, waltz-style accompaniment, and playful and charming characters. 19 Makiko Kinoshita, interview answers to author, February 1, 2011. 16 both Japanese and English titles, two unique scores, obtained directly from Kinoshita, have only Japanese titles: Waku Waku [Exciting] and Uto Uto [Dozing].20 A Circuit of

Dreams (1986, revised 2007), 9 Preludes (2001), Alice in Wonderland (1993), and

Mother Goose (1991) were published as separate collections. Kinoshita’s solo piano

repertoire is listed by title, in both Japanese and English, in Table 2.1.

Kinoshita’s first piano piece, Fantasy (1979), is unpublished. Kinoshita composed

it when she was in college and I have received a copy of the original manuscript from the

composer. Since Kinoshita would like to revise this work, she has asked me not to record

it.21 The work appears very difficult because of the use of irregular rhythms, fast

arpeggiated passages in a wide range, and irregular time signatures.

Kinoshita’s piano pieces for children are well respected in pedagogical circles.

This is evidenced by her publications of individual children’s pieces in The Collection of

Piano Pieces by Composers for Children.22 This series has been published every year since 1985 and it has become very popular among Japanese piano teachers because of its accessibility to Japanese contemporary music. Many prominent Japanese composers have been published in The Collection of Piano Pieces by Composers for Children including

Yoshinao Nakada, Akira Nishimura (b. 1953), Hiroshi Aoshima (b. 1955) and Shinichiro

Ikebe (b. 1943). The Japan Federation of Composers also sponsors a premier concert

20 I will use English titles in this document unless the work was solely titled in Japanese. 21 Makiko Kinoshita, email message to author, September 10, 2009. 22 One piece from The Collection of Piano Pieces by 36 Composers for Children: Kodomo no Jyokei 1 [Scene of Children-1] (2000) was chosen as a required repertoire in the 2001 PTNA Piano Competitions at level B. The competition is a well-known national piano competition in Japan. Level B is for children in fourth grade and under. A complete listing of the pieces composed by Kinoshita for The Collection of Piano Pieces by Composer for Children can be found in the bibliography. 17 every year wherein composers who published music in the series perform their own pieces.23

Table 2.1: Kinoshita’s Solo Piano Music

Year Published Titles (Japanese, English) Publisher 2007 夢の回路 (Yume no Kairo) Edition KAWAI (revised) A Circuit of Dreams, I, II 2007 クアッガ Edition KAWAI E q. quagga 2006 モア Edition KAWAI Moa 2004 GI カットのライオン (GI katto no Lion) Edition KAWAI (republished) The Lion with the GI haircut 2003 うとうと Edition KAWAI Uto Uto [Dozing] 2001 ９つのプレリュード Ongaku-no- 9 Preludes Tomo-Sha 2000 わくわく Edition KAWAI Waku Waku [Exciting] 1997 ピョコピョコ(Pyoko Pyoko) Edition KAWAI (republished) Hop, hop 1995 思い出のレモンパイ(Omoide no Lemon Pai) Edition KAWAI A Memorable Lemon Pie 1994 ふんわりババロア Edition KAWAI Soft Bavarian Cream 1993 不思議の国のアリス Edition KAWAI Alice in Wonderland 1. 木かげのアリス[Alice in the Golden Afternoon] 2. 白うさぎを追って[Down the Rabbit-Hole] 3. 涙の水たまり[Pool of Tears] 4. ドードー鳥とおかしなレース[The Dodo and a Strange Race] 5. イモムシの忠告 [Advice from a Caterpillar] 6. 笑う猫 [Cheshire Cat] 7. お茶会は続く [A Mad Tea-Party Never Ends]

23 日本作曲家協議会[JFC] is a Japanese organization for composers. Their official site can be accessed at: http://www.jfc.gr.jp/index.html 18

8. 女王とクロケット大会 [The Queen’s Croquet-Ground] 9. 裁判は大さわぎ [The Trial in a Muddle] 10. 夢のあと[After the Dream] 1991 アフリカの子どものうた (Africa no Kodomo no Uta) Edition KAWAI Children’s Song of Africa 1990 犬が自分のしっぽをみて歌う歌 (Inu ga jibunnno shippowp Edition KAWAI mite utau Uta) Song Sung by a Dog Looking at its own Tail 1991 マザーグース Edition KAWAI Mother Goose 1. Three Blind Mice 2. Mrs. Bond 3. Old King Cole 4. The Cuckoo 5. Pussy Cat 6. On Christmas Day 7. Jack and Jill 8. Goosey, Goosey Gander 9. Rock-a-bye, Baby 10. Humpty Dumpty 11. Saint Paul’s Steeple 12. Hey Diddle Diddle 13. Who killed Cock Robin? 14. London Bridge 15. Twinkle, Twinkle Little Star 1989 GI カットのライオン (GI katto no Lion) Edition KAWAI The Lion with the GI haircut 1988 ピョコピョコ(Pyoko Pyoko) Edition KAWAI Hop, hop 1986 ピアノ組曲“夢の回路” The Japan Piano Suite “Circuit of Dreams”, I, II, III Federation of Composers 1979 幻想曲 Unpublished Fantasy

Apart from her solo piano works, Kinoshita has also published two collections of piano duets. One is Labyrinthine Piano (2010), which includes six advanced duet pieces.

This set is based on Kinoshita’s earlier choral works, including Tio’s Night Trip (1986),

Amusing Cinecamera (1991), and Yoruwa keshite jittowa (1989). The second set is 19

Gentle Rain (2003), which includes ten duets for more pedagogical purposes. Two of the duets from Gentle Rain were published in The Collection of Piano Pieces by Composers for Children in 2002 (Messages 2 and 4). This set is meant to be played by a student

(Piano 1) and the student’s teacher or parent (Piano 2). By playing these works, students can enjoy learning music in an ensemble setting and experience more advanced musical concepts: rich harmonies, interesting dialogues, and parallel and contrary motion. While the student’s part (Piano 1) is much easier, musical elements in both parts are similar.

Conclusion

Though Kinoshita never took a complete break from piano writing, her output was not consistent. In fact, Kinoshita composed less than five minutes of piano music between the years of 1993 and 2001, subjecting herself to a sort of self-imposed “hiatus” from the piano.24 Kinoshita realized that when she wrote music, she automatically

imagined a piano producing that sound, even if the piano was not her intended

instrument. She began pursing orchestral and choral composition more seriously in order

to expand the timbres that she could hear while writing. She did not want to default to

hearing only piano sounds. Thus her early experiments with piano writing led to several

choral compositions rather than a deeper exploration of pianistic writing. When Kinoshita

resumed writing for the piano, she noticed that her melodic lines and phrase shapes were

much like those of a singer.25 The following chapter will examine each work for solo piano in more detail, including their performance and pedagogical issues.

24 Makiko Kinoshita, preface to the score 9 Preludes (Tokyo: Ongakuno-Tomo-Sha, 2001). 25 Kinoshita, interview answer to author, February 1, 2011.

CHAPTER 3

PEDAGOGICAL AND PERFORMANCE CONSIDERATIONS

Introduction

This chapter examines Kinoshita’s solo piano works. The pieces are discussed in the order in which they appear on my CDs. The first CD incorporates Kinoshita’s advanced and more challenging music, 9 Preludes and A Circuit of Dreams; the second

CD covers her music for children, Alice in Wonderland, Ten Pieces for Children, and

Mother Goose. The Ten Pieces for Children are treated chronologically, according to their dates of publication.

The following discussions of each of Kinoshita’s solo piano works encompass technical challenges, interpretive issues, and pedagogical thoughts. I have also rated the difficulty of each piece. In order to ground the reader and enhance the performer’s appreciation of the music, I begin each discussion with a consideration of the work’s individual character and its distinctive stylistic elements. I chose to initiate this project with 9 Preludes because my recording is the piece’s premiere recording. A Circuit of

Dreams, Kinoshita’s most complex solo piano work, follows 9 Preludes. Those two sets are written for advanced pianists. Therefore, I have included more depth of discussion in the stylistic overview, as well as in the performance suggestions. Next follows Alice in

Wonderland, wherein I introduce the music’s literary background and explain how it should enhance a performer’s interpretations rather than focusing on stylistic analysis. 21

While Alice in Wonderland includes some technically challenging pieces, it is overall far less idiomatically complex than the first two set. My discussion concludes with Ten

Pieces for Children and Mother Goose, two sets of simple, short pieces characterized by a more traditional tonal language. Although these short pieces are deliberately less sophisticated than the others, they are valuable as pedagogical works. My discussion of these works stresses their pedagogical angle, rather than their structural characteristics.

9 Preludes

9 Preludes was completed in 2000 and published in 2001, but it was completed over a period of sixteen years. During 1984-85 Kinoshita was teaching piano lessons to a particular high school student who dreamt of entering college as a composition major, she composed a new piece for him for every lesson. 9 Preludes grew out of several musical ideas from these lessons.1

The generic title of 9 Preludes is exceptional among Kinoshita’s compositions.

Nearly all of her published works have programmatic titles (see for example Alice in

Wonderland or Circuit of Dreams).2 For 9 Preludes Kinoshita simply thought the set should be entitled “preludes” and that each prelude should be identified by a number. At first Kinoshita was planning to compose twelve preludes, following the tradition of Bach and Chopin, who wrote twelve preludes in twelve different keys. Yet Kinoshita

1 Makiko Kinoshita, email message to author, March 15, 2011. Kinoshita remembers that she composed five or six preludes in 1984-85. Later she revised some of these original preludes and even threw some of them away; only Prelude 1 was kept the same as the original. A few preludes were newly composed for the publication. 2 Kinoshita revealed that she usually decides a title of the piece after finishing a composition in the email message to author, February 1, 2011. 22 composed without key signatures, and after completing the ninth prelude she felt that the collection was organic and complete.3

According to the preface of 9 Preludes, Kinoshita intended to create new music that sounded modern, beautiful, universal and individualistic, but that also remained accessible for both the audience and the performing artist. In other words, she was not

interested in composing virtuosic music, but in creating unique sounds and rhythms.4

Each prelude has a unique character but there are some common features that draw the pieces together. The form of each prelude is usually ternary and the first A section is usually stated twice (AABA’). Double bar lines indicate these sections, except in Prelude

6. Here the sections are divided by changes in tempo, indicated by specific metronome markings. The B, or middle, section is often motivically related to the A section, although the moods of the two sections are sometimes contrasting. The length and placement of downbeats change frequently, giving the music an improvisatory quality. Kinoshita also uses parallel fifths, albeit in various ways, to unify the set. The following paragraphs will discuss each prelude in more detail.

Prelude 1 [CD 1-1]

Stylistic Overview

This prelude is strongly influenced by popular music and jazz: the counterpoint between the hands, driving syncopated rhythms, and extended harmonies seem to be

3Because the set was conceived in the tradition of twelve preludes, the set remains independent from other composers who wrote collections of nine preludes, including Szymanowski (Op. 1), Fauré (Op. 103), and Ruth Crawford (1928). Makiko Kinoshita, interview answer to author, February 1, 2011. 4 Makiko Kinoshita, 9 Preludes (Tokyo: Ongakuno-Tomo-Sha, 2001). 23 drawn from those genres. For example, rhythmic syncopations and asymmetrical meters are similar to those in David Brubeck’s Blue Rondo A La Turk (1959), which has playful undulations between triple and duple groupings of a constant eighth-note pause. The meter of this prelude changes often, creating combinations of two-, three-, and four-bar phrases. Changing meters reflect progressive pop music as well. An improvisatory nature is also suggested by the liberties Kinoshita gives the performer; for example, there are no pedal indications or detailed articulation markings.

The form is AABA’, with the central section freely expounding upon ideas from the first. The three main sections are demarcated by double bars. The texture is a traditional blend of three- and four-voice lines, usually implying extended tertian harmonies. The music implies B minor in mm. 1-3 with a two-sharp pitch collection

(Example 3.1). It becomes a one-sharp pitch collection in mm. 4-5 and moves to no accidentals in mm. 6-7. Similar changes continue, but a prolongation on the pitch B ends each A section and implies B minor (Example 3.2).5 Despite these shifts in pitch center,

the harmonic progression is smooth. This type of modal inflection, moving from one nearly-related pitch collection to another, is a hallmark of this prelude.

The left hand uses open fifth chords in many places.6 These are often held for an

extended duration and move down by a third, relating to each other in perhaps an

untraditional way (Example 3.3). Through these shifting fifth chords, we see Kinoshita

using chord changes as color changes, much like impressionist composers.

5 The sections prolonging the pitch B are mm. 14-22, 40-49, and 112-129. 6 Open fifth chords and thirds can be seen in many of Kinoshita’s piano works. She likes to use them because those intervals are easy to reach when placing hands on the keyboard, and easy to control the sound. They can be expressive and effective when repeated percussively. Kinoshita, interview answer to author, February 1, 2011. 24

Both the A and B sections also include long passages of static pitcch collections with shifting rhythmic groups (Example 3.4a and Example 3.4b). This hints at Stravinsky and Bartók.

Example 3.1: Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 1-10

Example 3.2: Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 112-129

Example 3.3: Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 51-61

Example 3.4a: Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 62-71

Example 3.4b: Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 124-129

At the end of the prelude Kinoshita introduces a creative transition to link the first prelude to the second. Prelude 1 ends on an open fifth on B, and Prelude 2 starts by filling in the missing D; however, the resolution of the complete B minor triad is undermined in m. 1 (See Example 3.5 under Prelude 2) when the left hand enters in C major.

Suggestions for Performance

Since there are not many performance indications on the score, but the prelude has an improvisatory quality, it is important for the performer to think about the sense of timing between phrases. Imagine taking a slight breath between phrases, in which the arm would be slightly lifted up. For example, the sense of lifting would happen between mm.

3 and 4, beats 2 and 3 in mm. 8 and 11, and beats 3 and 4 in m. 14. In the A section, make sure the eighth notes in the left hand drive in 5/8 time with a subtle emphasis on the downbeat. It is easy to have an incorrect accent on the fourth beat when the eighth-note becomes a quarter-note (mm. 4-6 and mm. 17-22). When the melody is played in chords, the arm should help move the hand horizontally but not vertically so that the melody sounds smooth (mm. 4-8 and mm. 17-23). In the B section, when the right hand has melodies built in thirds (Example 3.2), the performer needs to make the melody flow smoothly. Playing eighth notes between the thirds quieter will help. Finally, whenever the left hand has a long open fifth chord, the right hand should wait to come in until the dynamic of the chord decays (mm. 27 and 99). The performer might need to hold the chord a bit longer than it is notated. This will allow the entrance of the recurring theme to be more effective.

Level of Difficulty: Late intermediate 27

Prelude 2 [CD 1-2]

Stylistic Overview

Prelude 2 creates a lyrical, gentle, dreamy atmosphere by using a multi-layered texture. The 4/4 meter is retained throughout andd there is a recurring accompanimental rhythm in the left hand. This steady metric orientation creates a meditative atmosphere.

Kinoshita puts specific pedal markings in this prelude, as opposed to the first prelude, where she leaves the pedaling to the performer.

Like Prelude 1, this prelude has jazz influences. Kinoshita uses jazz chords, such as elevenths, that move by fifth (Example 3.5). Extended tertian harmonies also draw heavily from a whole-tone pitch collection. For example, a CMm9#11 chord in m. 1 becomes the whole tone scale (Bb-C-D-E-F#) when you remove the G.

Example 3.5: Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 1-4

The A section has a melody in double thirds, which becomes accompanimental to the left hand melody in the B section (m. 25; Example 3.6). In mm. 21-24, it is as if the thirds become separated from each other and lose their sense of melodic direction. When 28 they find their way again, they are guided by the left hand melody. In m. 29 the melody returns to the right hand in double thirds with a bell-like high note on the second beat.

As a whole, the dreamy atmosphere of this prelude is the result of a carefully spaced and layered texture in which Kinoshita intelligently exploits the tonal palette of the instrument. The final CMm9#11 13 chord in the last two measures slowly disappears like smoke. Similar to the opening CMmM 9#11 chord, all the pitches except G and A fit into a whole-tone scale. These opening and closing chords exemplify Kinoshita’s use of harmony as a colorful effect.

Example 3.6: Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 21-30

Suggestions for Performance

Melodies in thirds will sound better if the soprano line sounds slightly more than the lower line. When playing a large rolled chord such as in m. 11, bring the chord out of the preceding four eighth notes, as if all the notes are just one chord. In other words, play everything as a single gesture. To make the rolled chord sound smoothly, the right hand can take the notes of the second beat (D and E). In mm. 29-36 the music becomes excited and wants to move forward; however, grow gradually so that the musical momentum builds to a climax in m. 37.

Level of Difficulty: Medium difficult

Prelude 3 [CD 1-3]

Stylistic Overview

Prelude 3 features two different ideas: a busy, running figuration (m. 1) that contrasts with declamatory chords (m. 2). This creates a dichotomy between horizontal and vertical motion (Example 3.7). In fact, the music begins to sound like an argument between two characters; the first person wants to go forward but keeps getting interrupted by the second, defiant one.

The chords of the second idea are closely spaced, moving in chromatically related major triads. For example, in m. 2 there are Db, Cb(B), and Bb major chords. These have

short, dry articulations, which resemble the opening to Debussy’s etude Pour les accords

(Example 3.8).

Example 3.7: Makiko Kinoshita, 9 Preludes, Prelude 3, mm. 1-12

Example 3.8: Debussy, Etude, pour les accords, mm. 1-4

In the second A section, starting at m. 9, the busy, running figure is written in unison for both hands and the rhythms of chordal statements vary (Example 3.7). These fast parallel sixteenth-note figurations an octave apart have their roots in the writing of composers such as Shostakovich and Prokofiev (Examples 3.9 and 3.10). These unison passages combine step-wise chromatic motion with quartal and triadic melodic contours to create rather eclectic pitch collections.

Example 3.9: Prokofiev, Piano Concerto no. 3 in C major, Op.26, I, mm. 23-24

Example 3.10: Shostakovich, Piano Concerto No. 1, Op. 35, I, mm. 22-23

The B section, beginning at m. 19, reverses the roles of the hands by placing running sixteenth-note passages in the right hand and chords in the left hand (Example

3.11). In mm.19-23, these chords are controlled by linear bass motion (A-Ab-G-Gb-F-E-

D). Kinoshita seems to favor this technique; it caan be seen inn her other compositions, such as Prelude 2 (mm. 29-33) of this collection and Hop, hop. Rests on the downbeat 32 lend a breathless and perhaps anxious quality to the music. Again, one can clearly hear a jazz influence in these syncopations.

Example 3.11: Makiko Kinoshita, 9 Preludes, Prelude 3, mm. 19-26

SuS ggestions for Performance

The two contrasting characters in the A section should be clearly heard from the beginning. The right hand needs to use vertical motion to sound as if it is interrupting the left hand sixteenth-note passages that are trying to move forward. In the first and second statements (mm. 2 and 4) the right hand needs to be played in time with a steady beat. It could come in slightly earlier in the third statement (m. 6) because afterward the music 33 moves forwardr ; the sixteenth-notes become free from the interruptions. When there is a rest between sixteenth-note passages (such as mm. 7-8 and mm. 36-38), the rest should be taken for a precise duration or perhaps slightly shorter thaan the written duration to be brreathless. Performers should approach sixteenth-note passages carefully, as fast parallel figuration is especially notorious for the fingering problems it presents.

Level of Difficulty: Difficult

Prelude 4 [CD 1-4]

Stylistic Overview

Prelude 4 emulates a siciliana, featuring dotted rhythmic motives (Example 3.12).

The music is metrically ambiguous. While the piece starts in 9/8 time, the music often sounds as if it were in 6/8 because of phrase figurations. Later, beginning with the lead into the B section, the notated meter is changed to 6/8.

Example 3.12: Makiko Kinoshita, 9 Preludes, Prelude 4, mm. 1-3

Like Prelude 3, this piece also has two contrasting characters. The A section is coloristic, simple and lyrical, while the B section is more rhythmic and syncopated. The

B section is also reminiscent of neo-classicism. Beginning at m. 17 there is a “sentence” structure: basic idea + basic idea + continuation + cadence (Example 3.13a).7 In fact, this

is a “compound theme”: two sentence structures (6 + 6) within the “period” structure.

The first six measures (mm. 17-22) have a cadence that goes to G and the second six

measures (mm. 23-28) end on D. This kind of technique was used by classical

composers, such as Beethoven, Mozart, and Haydn (Example 3.13b). Kinoshita also used the same structure in the A section of Memorable Lemon Pie.

This piece also resembles Ravel’s “Forlane” from Tombeau de Couperin,

particularly with its use of dotted rhythms and parallel motion chords. The simple yet

sophisticated harmony, created by gliding parallel fifths, also sounds like Ravel (Example

3.14).

Suggestions for Performance

The B section should be played with a sense of forward direction because of its

repeating rhythmic motives. While Kinoshita indicates a tempo marking of a dotted

quarter note as 42, the piece could be played in a faster tempo to help it flow more

organically.

Level of Difficulty: Late intermediate

7 Terminology and ideas came from William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press 1998). The “period” structure consists of “antecedent (basic idea + contrasting idea)” and “consequent (basic idea + contrasting idea).” Antecedent is followed by half cadence, and consequent is followed by a perfect cadence. In examples 3.13a and 3.13b antecedent and consequent sections have sentence structure by themselves. 35

Example 3.13a: Makiko Kinoshita, 9 Preludes, Prelude 4, mm. 16-28

Example 3.13b: Beethoven, Sonata, Op.10 no.1, II, mm. 1-16

Example 3.14: Ravel, Forlane, Tombeau de Couperin, mm. 11-4

Prelude 5 [CD 1-5]

Stylistic Overview

With its syncopations and hemiola rhythms, Prelude 5 is rhythmically intense.

The texture is thicker here than in the other preludes. The A and B sections share a common rhythmic motive (Examples 3.15a and 3.15b). This off-the-beat accentuation one sixteenth-note early, is very characteristic of pop music.

Example 3.15a: Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 1-6

Example 3.15b: Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 35-37

In m. 1 the quartal/quintal harmony features the open fifth interval; beginning in m. 2 melodic perfect fourths are found in unison runs (Example 3.15a). Kinoshita’s use of gliding fifths appears again in this movement, but here she treats the chords like the

“power chords” in rock music.8 An open fifth is encompassed within the octave and is used to accent the tonal motion rather than to obscure tonality.

This prelude is also influenced by jazz and recalls pianists such as Bud Powell: his Tempus Fugit uses long sixteenth-note passages that startt on the offbeat. In fact, this prelude sounds much like a piano solo break. It just needs a drum set and bass to complete it! These driving sixteenth-note rhythms, along with syncopations, rests on the down beat, and frequent meter changes make the music rhythmically interesting and challenging for the performer. These techniques also lend the music a breathless and intense quality.

At the end of the B section, in mm. 54-577, the left hand seems to chase the right hand melody, which increases the intensity of the passage (Exxample 3.16). This section uses a similar compositional technique to mm. 45-48 of “Down the Rabbit-hole” from

8 The term “power chord” is usually used in rock and pop music. It consists of intervals of a fifth (root and fifth) and is usually played by electric guitars. 38

Alice in Wonderland, where the music describes Alice chasing a rabbit (Example 3.17).

The rising left hand passage comes in on the offbeat in a kind of stretto, interrupting and frustrating the right hand.

Example 3.16: Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 53-58

Example 3.17: Makiko Kinoshita, Alice in Wonderland, no.2, mm. 45-48

SuS ggestions for Performance

The performer must carefully consider effective fingerings for this prelude, especially in mm. 42-52 (Example 3.18). Here thhe right hand has fast passages in a thin 39 texture with forte to fortissimo dynamics. In the example, I prrovided fingerings that I used to get power in the higher register.

Overall Level of Difficulty: Difficult

Example 3.18: Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 41-52

Prelude 6 [CD 1-6]

Stylistic Overview

Prelude 6 is very coloristic: the entire piece consists of rolled choords that evoke the sound of a harp. Though the meter is a constant 6/4, there is a hypermeasure of 12/4 in the opening six bars (Example 3.19). The opening chord prrogression begins with tonic- dominant motion (FMM9 – CMm9) over an F pedal, but this traditional progression is quickly abandoned in favor of chromatic voice leading. The repetitions in the outer voices of mm. 1-2 also create a type of static energy, so that when the bass starts to move in m. 3, it is a welcome contrast.

Example 3.19: Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 1-6

Similar to Chopin’s E minor Prelude, choords unrelated by traditional harmonic laws are often juxtaposed; instead, they are connected by chrromatic voice leading

(Example 3.20). However Kinoshita’s harmonies are taller annd more chromatic than 41

Chopin’s. Kinoshita seems to have chosen chords simply by sound, using what appealed to her ear. It is as if one is floating in water, with thoughts drifting in and out devoid of order or connection.

Example 3.20: Chopin, Prelude Op. 28, no. 4, E minor, mm. 1-4

Melodic fragments often bubble up from the depths of the bass register (Examples

3.21a and 3.21b). This lends this prelude a more improvisatorry feeling than the other preludes. In fact, Kinoshita wants the audience to listen to the resonance created by the harmonic changes and suggests the performer enjoy the resonance of each chord by holding the pedal.9

Example 3.21a: Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 9-12

9 Makiko Kinoshita, email message to author, December 27, 2010. 42

Example 3.21b: Makiko Kinoshita, 9Preludes, Prelude 6, mm. 60-61

The B section starts in m. 27. Unlike the other preludes, the ternarry form is marked by changes in tempo, not double bar lines. Tempo changes are indicated by metronome markings. The musical material of the B section is also an outgrowth of the first section (see Example 3.22 under Suggestions for Performance). After a transition in mm. 27-33, fragments from the A section connect into longer phrases.

SuS ggestions for Performance

Pedaling is the most challenging aspect of this piece. While Kinoshita indicates pedaling markings on each chord, one might want to experiment with longer pedaling.

More sustained pedaling will help create longer phrases and a better sense of flow. In mm. 27-33 the performer needs to think about phrasing and musical direction, since there are many juxtaposed rolled chords. I have indicated my phrasing ideas in Example 3.22.

In my recording I play this prelude faster than the suggested tempo marking in order to create better flow. While Kinoshita liked my interpretation, she suggested playing the prelude more slowly to enjoy the resonance.10

Level of Difficulty: Medium difficult

10 Kinoshita, email message to author, December 27, 2010.. 43

Example 3.22: Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 25-33

Prelude 7 [CD 1-7]

Stylistic Overview

This prelude has a rhythmic theme that beegins in m. 1 in F minor. While the form is ternary with a coda, the prelude sounds like a rondo because the theme recurs many times throughout the piece.

In some ways this prelude also resembles a fugue (Example 3.23). A complete, unaccompanied subject is presented by the right hand and then the left hand enters with a counter subject. Two subsequent appearances of tthe subject are transposed to V and VI in mm. 10 and 14 and a “development” type of section begins in m. 30 (Example 3.24). Yet unlike a typical fugue, a contrapuntal texture is not maintained and whereas many fuggues focus on melodic development, Kinoshita focuses on rhythmmic development (or deconstruction) of her fugal subject. 44

The B section is highly percussive and, like Prelude 3, contains two argumentative characters that are set apart by dynamics and texture (Example 3.25). In the reprised A section, the subject (or theme) moves up a whole step up to B-flat. In fact, the theme keeps climbing, creating a linear ascent from Bb-C#-D#-E-F#-G-A-Bb-C-C# in mm.106-114. A resolution to F minor finally occuurs at m. 121.

Example 3.23: Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 1-15

Example 3.24: Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 30-41

Example 3.25: Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 68-77

SuS ggestions for Performance

The giusto tempo should be carefully maintained in order to create a driving sense of rhythm. The last two open fifth chords in the left hand in m. 10 should connect to the following passage to keep the phrase moving forward (Example 3.26). There should not be any breaks between motives; for example, m. 11 should follow right after m. 10.

While each sixteenth-note passage has a slur marking, it should be played with a precise, detache touch instead of a legato one.

Level of Difficulty: Difficult

Example 3.26: Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 10-15

Prelude 8 [CD 1-8]

Stylistic Overview

Prelude 8 uses trills in the right hand and an expansive texture in the left hand to create a dreamy and otherworldly atmosphere (Example 3.27a). Both the A (m. 2) and B sections (m. 26) have a rising, sixteenth-note choordal gesture in the left hand (Example 47

3.27b). The use of extensive trills can be seen in Kinoshita’s other compositions such as

“Advice from a Caterpillara ” from Alice in Wonderland (1993) and the second movement

(piano part) of Twisting Landscapes for clarinet, violin, and piano (2004). In “Advice from a Caterpillar” Kinoshita depicts the scene where Alice meets a caterpillar that is lazily smoking a long hookah (Example 3.28). Here the trills sound like wisps of smoke gradually floating up and down in the air.

Example 3.27a: Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 1-4

Example 3.27b: Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 26-30

Example 3.28: Makiko Kinoshita, Alice in Wonderland, no. 5, mm. 1-4

In addition to extended trills, the first A section features a long tremolo section for both hands (Example 3.29). These tremolos draw from the octatonic pitch collection (F#,

G#, A, B, C, D, Eb, F). This tremolo effect is a signature of Kinoshita’s style and appears in several other compositions, such as “Advice from a Caterpillar” and the first movement of A Circuit of Dreams (Examples 3.30a and 3.30b). Complex, syncopated rhythms in both hands also make the pulse uncleaar and help create an improvisatory and dreamy atmosphere.

In contrast to the A section, the B section starts with a five-measure span that changes meter three times: from 5/4, to 4/4, and then to 3/4 (Example 3.27b). No particular motives are highlighted. A metrical shift occurs aggain in m. 35; however here the texture builds with the melody doubled in octaves (Example 3.31). There is root movement by thirds in this section and a retransition at m. 61 brings back the extended trills for the reprised A section (m. 67).

Example 3.29: Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 16-23

Example 3.30a: Makiko Kinoshita, Alice in Wonderland, no. 5 mm. 69-73

Example 3.30b: Makiko Kinoshita, A Circuit of Dreams, I, mm. 82-89

Example 3.31: Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 49-55

Suggestions for Performance

It is difficult to keep an even sound when playing extended trills at a pianissimo

(pp) dynamic. I suggest using measured trills first (the performer may decide how many trills to play in a beat), and free trills later to shape phrases. In playing long tremolos, make sure to transition between groups smoothly. These changes should create a long line and should not be disjunct: play slightly more into the key at the end of the preceding tremolo and the beginning of the following tremolo.

Tempo changes due to ritardando, a tempo, and accelerando markings can help the music sound improvisatory. A good sense of flow and phrase shaping is essential to play this piece musically.

Level of Difficulty: Difficult

Prelude 9 [CD 1-9]

Stylistic Overview

The form of Prelude 9 is an arch form, A B1 B2 A + codetta, which is a little more

complex than the preceding preludes. Measures 1-27 present the first theme (A) which

contains a dialogue between two ideas: vertical repetitive motion and a horizontal melody. Measures 28-48 introduce the second theme (B1), which reverses the ideas of the

first theme. Here the horizontal melody comes first and is followed by repetitive motion

with a fixed bass prolonging the pitch B. The first two measures of the second theme

(mm. 28-29) include a whole tone scale plus E (F, G, A, B, C# + E). At m. 47 there is a

new theme (B2) that begins a developmental area. At m. 85 the first theme returns in the

recapitulation. A codetta with new closing material closes the prelude. 52

As noted previously, the A and B1 themes of this prellude use insistent, repetitive chords. These chords are motoric, comprised of sixteenth notes, and usually form successive groups of four or six. In mm. 20-27, the downbeats are rhythmically displaced byy these changing groups (Example 3.32).

Example 3.32: Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 20-27

Prelude 9 also shares a compositional technique with the second movement of A

Circuit of Dreams wherein repeated-note passages become thicker by the addition of notes (Examples 3.33a and 3.33b). This techniquue, along with the unique tremolo effect in Prelude 8, can be considered a trademark of Kinoshita’s compositional style. 53

Example 3.33a: Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 78-84

Example 3.33b: Makiko Kinoshita, A Circuit of Dreams, II, mm. 119-204

SuS ggestions for Performance

There are almost no performance indications in the score. Pedal markings, phrase markings, and articulations are scarce, leaving much of the musical interpretation up to the performer. The unusual time signatures of 10/16, 9/16, and 7/8 alternating each measure (which appears in mm. 36-40) is also triccky to play (Example 3.34).

The rhythmic and technical demands of this prelude also require the performer to learn how to balance between the arm and wrist. Correct balance will allow the figurationn to sound solid and controlled and help the performeer avoid fatigue.

Example 3.34: Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 35-37

Summary

By examining each prelude in detail, one can see thatt Kinoshita incorporates a wide variety of compositional techniques into the entire set. Yet the work remains a cohesive whole. More specifically, though each prelude makes a distinct use of melody, color, syncopated rhythm, or some combination of these three elements, 9 Preludes has an overarching pattern. Prelude 1 functions as an introduction and then Preludes 2 through 9 alternate back and forth: slower, lyrical, coloristic preludes alternate with 55 faster, rhythmic preludes. Therefore, while the preludes can function alone or within smaller groupings that share characteristics, 9 Preludes works well as a complete set.

Table 3.1 indicates the different genres and styles Kinoshita uses for 9 Preludes.

Her musical language is influenced by jazz and pop music (Preludes 1 and 5) as well as classical traditions. Yet her approach to tonality is often unconventional: she creates unique pitch collections (Preludes 1 and 8), juxtaposes unrelated chords (Prelude 6), coloristic gliding fifths (Prelude 1), and complex metrical ambiguity (Preludes 4 and 8).

Table 3.1: Summary of 9 Preludes

Prelude Stylistic characteristics Techniques 1 -Pop music / Jazz influence -Frequent time changes -Implies B minor -Double thirds -AABA’ form -The use of open fifth is impressionistic. 2 -Coloristic and dreamy -Rolled chords -Use of Whole-tone scales -Double thirds -AABA’ form 3 -Two contrasting characters -Fast sixteenth-note passages -Influence of Shostakovich -Chords and Prokofiev -AABA’ form 4 -Siciliana -Dotted rhythms -Coloristic/Lyrical -Lyrical playing -Metric ambiguity - Reminiscent of neo- classicism -AABA’ form 5 -Pop music influence -Driving sixteenth-note rhythms -Open fifth chord as “power -Rests on the down beat chord” -Syncopations -AABA’ form -Frequent time changes 6 -Ethereal feel -Rolled chords - Chromatic voice leading -Effective pedaling -AABA’ form 7 -Implies F minor -Fast sixteenth-note passages -Ternary + coda, however it -Chords 56

sounds like Rondo form -Octave playing -Motivic -Staccato -Two contrasting character in -Accent the B section -Polyrhythm 8 -Coloristic / Lyrical -Long trills -Use of Octatonic pitch -Long tremolos collection -Octave playing -Frequent time changes -ABA’ form 9 -Two contrasting characters -Motoric rhythms -Arch form (AB1B2A’ + -Repetitive chords / notes codetta) -Double thirds -Use of whole-tone scale -Syncopations -Accent

Kinoshita’s combination of techniques is not an example of mimicking other

composers, but more of a testament to her diverse musical training and imaginative

writing style. If the preludes are taken one by one, the listener only gets a small taste of

Kinoshita’s brilliance. Considering 9 Preludes as a whole allows the listener to experience the full impact of her style.

9 Preludes, Overall Level of Difficulty: Late intermediate – Difficult

A Circuit of Dreams

A Circuit of Dreams was published in 1986 and revised in 2007. The suite is the only piano repertoire Kinoshita composed during her 20s-30s: at this time she was primarily composing for orchestra and choir.

A Circuit of Dreams originally had three movements and was published as Piano

Suite “Circuit of Dreams” by the Japan Federation of Composers (JFC). The score is hand-written. The original second movement of the suite was extremely demanding and many pianists could not play it well. Kinoshita heeded suggestions from concert pianists, such as Miho Shibata, and rewrote the set between 1997 and 1998. She removed the second movement and also changed many sections in the first and final movements.

Following the advice of her pianist friend Miho Shibata, Kinoshita later added clearer articulation and pedal markings.11 She published the revised version of A Circuit of

Dreams in 2007.12

As the original title indicates, the set is meant to be a “suite” that includes two

independent pieces. The title “A Circuit of Dreams” was chosen after Kinoshita finished

composing. When she had finished the first movement, she connected the work to an

image from a scene from the book Heinrich von Offerdingen by Novalis (1772-1801)

wherein the main character has a sweet and visionary dream. The choice of “circuit”

came from the character of the second movement (originally the third movement), which

11 Miho Shibara has recorded two of Kinoshita’s works, A Circuit of Dreams and Twisting Landscapes in a CD, The Trembling Moon, ALM Records/Kojima Recordings ALCD-71, CD, 2007. 12 Makiko Kinoshita, A Circuit of Dreams (Tokyo: Edition KAWAI, 2007) 2. 58 has driving rhythms and sudden stops in a dry texture. In essence, the piano is used as a percussive instrument.13

Movement I [CD 1-10]

Stylistic Overview

Like Preludes 2, 4, 6, and 8 of the 9 Preludes, this movement uses coloristic

harmonies to create a dreamy atmosphere; however Kinoshita’s use of trills, tremolos,

arpeggios, and secco articulations more resemble her writing for the piano in the second

movement of Twisting Landscapes (2004), a chamber work for clarinet, violin, and

piano.14 For example, both movements use melodic fourths with staccato articulations in

a high register with pedal (Example 3.35a and 3.35b).

In the first movement of A Circuit of Dreams dynamics range from ppp to fff and

the movement has a texture like Chopin’s nocturnes, especially at the beginning

(Example 3.36). Broken accompanimental patterns, melismatic writing, and complex

rhythms such as three against seven, should be executed as a single, smooth gesture.

While this movement has recurring thematic and rhythmic elements, the form is hard to define. Perhaps it is best described as a fantasy in four parts. I indicate these sectional divisions in Table 3.2 with horizontal double bars.

13 Kinoshita, interview answers to author, February 1, 2011. 14 Makiko Kinoshita, Twisting Landscapes, (Tokyo: Ongakuno-Tomo-Sha, 2007). 59

Example 3.35a: Makiko Kinoshita, A Circuit of Dreams, I, mm. 24-26

Example 3.35b: Makiko Kinoshita, Twisting Landscapes, II, mm. 15-17

Example 3.36: Makiko Kinoshita, A Circuit of Dreams, I, mmm. 1-2

Table 3.2: Form of A Circuit of Dreams, I

Mm. 1 Element 1 Fantasia-like theme 13 Element 2 Tremolos 17 Element 1 Fantasia-like theme 33 (Transition) Element 3 Chorale texture legato 40 Element 1 Rhythmic motif 42 Element 3 Chorale texture secco 51 Element 1 Rhythmic motif 52 Element 3 Chorale texture secco 65 Element 3 Chorale texture legato 72 Climax and feverish alternation between elements 1 and 3 82 Element 2 Tremolos 90 (Codetta) Element 1 Fantasia-like theme *Double lines indicate that the score has double bars to divide sections.

The first part introduces three thematic elements. Element 1, a fantasia-like

theme, has left hand ascending arpeggiation, which harmonically supports melismatic

figuration in the right hand (Example 3.36). Element 2 consists of tremolos that appear at

the culmination of element 1 (the fantasia-like theme). This progression from element 1

to element 2 occurs from mm. 1-16 (element 1: mm. 1-12; element 2: mm. 13-16). At m.

17 the fantasia-like theme returns. This second appearance of the fantasia-like theme also builds to a climax but now uses materials derived from its own gestures as opposed to tremolos. In mm. 31-32 chords are used to attenuate the returned fantasia-like theme section that began in m.17. These chords foreshadow element 3, blocked chords in a chorale texture, which appears at m. 33 (Example 3.37). This final element occurs with both legato and secco articulations.

A transition occurs from mm. 33-39 and then the second part of the fantasy begins at m. 40. Measures 40-64 can also be divided into two sections: mm. 40-50 and mm. 51-

64. The beginning of these two sections starts with the rhythmic motif from element 1 in 61 the left hand and is followed by element 3 (Example 3.38). After the second double barline at m. 65, Element 3 begins growing in dynnamics and register. A climax occurs at m. 72, with the element 3 chords pitted against the left hand arpeggios of the fantasia-like theme. In mm. 72-81 there is a feverish alternation between these two elements (1 and 3) that culminates with the bold tremolo figures of element 2 (mm. 82-85). In mm. 85-89, these tremolo figures attenuate to close out this climactic section. A soft codetta-like reprise of the fantasia-like theme finishes the movement.

Example 3.37: Makiko Kinoshita, A Circuit of Dreams, I, mmm. 33-34

Example 3.38: Makiko Kinoshita, A Circuit of Dreams, I, mmm. 40-43

Suggestions for Performance

In the preface to the score Kinoshita indicated that the pianist needs to use the pedal effectively to create interesting colors and reverberations throughout the movement.15 The performer needs to carefully listen to the sound and make a decision as

to which kinds of pedaling will be the most effective: clear pedal changes, over-lapping

pedal, half-pedal, or no pedal-changes at all. Kinoshita suggests making longer phrases; I

suggest holding the damper pedal longer, as in Prelude 6. Find the point where the sound

becomes overly dissonant, and then adjust your pedaling. Aim to create the maximum

amount of color without over-blurring the sound.

Frequent changes in meter help create an improvisatory feeling. As I mentioned

earlier in the discussion of 9 Preludes, the extended tremolo sections in mm.13-16 and

mm.81-89 (Example 3.30b) also help create the type of dreamy atmosphere that

Kinoshita discusses in the preface to the score. The performer needs to consider this

character as well as effective pedaling.

Since some notes should be held in order to generate a reverberant sound, I have a

few specific fingering suggestions. In m. 1 I would use the right hand to play the F# in

the bass clef. This allows the left hand to hold a C on the downbeat, which could be lost

in half-pedaling, and creates better bass support (Example 3.39). In m. 13 and m. 56 I

would use both hands to play the tremolos with the left hand taking the downbeat

(Example 3.40a and Example 3.40b).

Level of Difficulty: Difficult

15 Kinoshita, A Circuit of Dreams, 2. 63

Example 3.39: Makiko Kinoshita, A Circuit of Dreams, I, mmm. 1-2

Example 3.40a: Makiko Kinoshita, A Circuit of Dreams, I, m. 13

Example 3.40b: Makiko Kinoshita, A Circuit of Dreams, I, mm. 55-56

Movement II [CD 1-11]

Stylistic Overview

In contrast to the first movement, the fast second movement sounds much drier; it is highly percussive and rhythmic. The entire piecce consists of successive eighth-notes and chords. Softer dissonances, such as major seconds, whole-tone chords, and quartal/quintal outlines of chords, are often used. This movement is also similar to

Twisting Landscapes in its percussive use of the piano, rapid sixteenth-note passages, and staccato articulations (Compare Example 3.41 and mm. 181-183, 205-225, and 177-178 of this movement.).

Example 3.41: Makiko Kinoshita, Twisting Landscapes, III, mm. 36-38

While this movement does not necessarily have themees, there are many recurring melodic and rhythmic motives; these are usually short and diisjunct. Like Prelude 1 of the

9 Preludes, static pitch collections with shifting rhythmic groups can be found in many 65 places, hinting at Stravinsky and Bartók. The frequent change of time signatures and the percussive use of seconds also suggest Bartók.

Like the first movement, this movement does not fit into any traditional form. It can be divided into seven sections, creating an A B C/A C A A format with an introduction (See Table 3.3). In the introduction (mm.1-36), Kinoshita explores an overtone effect (Example 3.42). The effect is caused by a sustained major second dyad (B and C#) on the down beat in m.1. This dyad is held for seventeen measures and then reiterated in m. 18. Steady staccato eighth-note motion featuring quartal melodic outlines often appears against this long, sustained harmony. Each time the melodic idea becomes a little longer (mm. 6, 11-12, 16-17). In mm. 20-36 it appears in its fullest form over chordal seconds, thirds, and fourths.

Table 3.3: Form of the second movement

Mm. Sections 1-36 Intro. Introduction (perpetual eighth-note motion) 37-70 A Theme 1 (mm.31-51) & Perpetual eighth-note motion (staccato) 71-79 Eighth-note motion (legato)

80-108 B Lyrical melodies in parallel thirds 109-114 (C) Chords in back and forth motion 115-142 C+A Chords in back and forth motion & Perpetual eighth-note motion (staccato) 143-184 C Chordal section (highly percussive) 185-226 A Perpetual eighth-note motion (staccato) 227-241 A Theme 1 (reprise) *Double lines indicate that the score has double bars to divide sections.

Example 3.42: Makiko Kinoshita, A Circuit of Dreams, II, mm. 1-19

The A section proper occurs from mm. 37-79. The first theme, which includes perpetual eighth-notes and parallel thirds, appears in mm. 37-51 (Example 3.43). Since the music sounds much more rhythmic than melodic, parallel thirds should be voiced in the soprano line for contrast. Like the introduction, the A section also has perpetual eighth-note motion with staccato articulations annd often features quartal melodic outlines. In mm. 71-79 the eighth-note motion becomes legato for the first time and leads into the lyrical B section.

Example 3.43: Makiko Kinoshita, A Circuit of Dreams, II, mm. 37-38

In the B section parallel thirds are again fefeatured melodically. As was the casse at m. 37, the thirds are voiced more prominently in the soprano line (Example 3.44). They are also punctuated with legato eighth-note patterns that featuure quartal melodic outlines, staccato major seconds, and perpetual motion. Sporadic sixteenth-note motion begins in mm. 96-97 and reappears in mm. 107 and 112-113. This motion helps drive the music in this section to an emphatic conclusion on Bb (m. 114). With its undulating chordal motion, the end of the B section (mm. 109-114) also anticipates and prepares for the following section.

Example 3.44: Makiko Kinoshita, A Circuit of Dreams, II, mm. 89-94

The end of the B section and following C section are highly percussive. The chordal motion back and forth at the end of the B section grows increasingly rhythmic and introduces the C section with the same motion and varied rhythms. The C section has some recurring rhythmic motives: two eighth-note chords (a), repetitive eighth-note dyads (b), sporadic sixteenth-note motion (c), octave eighth-note motion with quartal melodic outlines (d), and a group of two sixteenth-notes and one eighth-note (e)

(Example 3.45). While those motives recur many times, they seem to appear almost randomly. Motive (a) concludes this section in m. 184.

Repetitive eighth-note motion on a G pedal tone initiates the second A section at m. 185. Notes are gradually added in mm.198-204 (Example 3.33b). As seen in Prelude

9 of the 9 Preludes, this is a trademark of Kinoshita’s compositional style. The first theme finally returns in m. 227. In contrast to the rather crazy and exciting character of this movement, the ending fades out with piano dynamic (Example 3.46).

Suggestions for Performance

While the tempo should drive forward in order to create a breathless feeling, it is important for the pianist to think in bigger phrases. The performer must have a good sense of flow and direction to make musical sense; otherwise the music tends to sound like a type writer.

Accents on weaker beats, rests on down beats, irregular metrical shifts, and disjunctive leaping chords are challenging for most pianists. To gain control of the perpetual eighth-note passages with both staccato and legato articulations, the hands should stay close to the keyboard. Avoid always playing loud; it is easy to play loudly 69

Example 3.45: Makiko Kinoshita, A Circuit of Dreams, II, mm. 169-180

Example 3.46: Makiko Kinoshita, A Circuit of Dreams, II, mm. 237-241

70 because of the technical challenges, but a constant dynamic intensity destroys the many colors of the movement. Control of dynamics is important for an exciting performance.

For repetitive and successive chords, such as the (a) motive in the C section, it might be helpful to use down-up wrist motions. For disjunctive leaping chords and octaves, make sure to use integrated arm gestures to get to the next position fluidly. This will help produce a solid sound.

Level of Difficulty: Difficult

Summary

While Kinoshita’s revision of A Circuit of Dreams became more pianistic than the older version, the two newer versions of the movements still represent Kinoshita’s early works. At times the multiplicity of ideas in a single movement, especially the second movement, make the music sound pluralistic. Yet these more advanced concert pieces are dynamic works, containing rhythmic and harmonic intricacies that present considerable challenges to the performer.

Circuit of Dreams, Overall Level of Difficulty as a Whole: Difficult

Alice in Wonderland

The Piano Pieces for CHILDREN for Small Hands

In 1993 Kinoshita was commissioned by the Edition KAWAI16 to compose music

for a series entitled The Piano Pieces for CHILDREN.17 She decided to compose a suite

related to the fairy tale Alice in Wonderland by Lewis Carroll.18 Since this suite was

intended for children, Kinoshita composed music inspired by the colorful Disney

children’s picture book Walt Disney’s Alice in Wonderland.19 Kinoshita believes that

Alice, the main character in this story, shares characteristics with girls today who are

precocious and have an adventurous spirit.20 She specifically chose a story that has a girl

as a main character because the majority of young piano students in Japan are girls.21

Kinoshita’s imaginative setting is helpful for enhancing musicality and expressive playing. In the score, which includes ten pieces, each piece includes a short description of

Alice’s story, Kinoshita’s comments for the performer, and a charming illustration

(Figure 3.1).22 Kinoshita’s commentary is creative and descriptive and works to guide

students’ musical imaginations. The charming illustrations on the score also help young

16 Edition KAWAI is a major music publication company in Japan. 17 Twenty five major Japanese contemporary composers, including Shinichiro Ikebe, Yoshinao Nakada, and Akira Miyoshi (b. 1933), have been commissioned by this series to promote method books for children in Japan. Some scores have titles in both Japanese and English. Others have titles only in Japanese. The English titles are not consistent; some, like Alice in Wonderland, have CHILDREN in capital letters. However, Japanese titles are always the same こどものためのピアノ曲集 (Kodomono tameno Piano Kyokushu). 18 Lewis Carroll, Alice in Wonderland, 2nd ed. (New York: W.W. Norton & Co., c1992). 19 Kinoshita was inspired by both the book and movie by Walt Disney. The VHS that Kinoshita watched is out of publication, Alice in Wonderland, Walt Disney Classics, VWDS5598, DVD, 2010 is the closest one that is available today. 20 Makiko Kinoshita, Preface to Alice in Wonderland (Tokyo: Edition KAWAI, 1993), 3. 21 Kinoshita, interview answers to author, February 1, 2011. 22 Edition KAWAI inserted illustrations in the process of publication. The illustrator and Kinoshita did not have any connections. 72 pianists better understand the musical concepts of the piece and allow them to connect the story to the sound.

Figure 3.1: Illustration excerpt from “Alice in the Golden Afternoon”

As the work continues, the level of difficulty increases and each piece gets longer.

Kinoshita intended this suite to be for students who just have finished Beyer’s

Elementary Innstruction Book for the Piano Forte and who are working on sonatinas and easier sonatas by composers in the Classical era.23

Owing to the brevity of the pieces, I will not use headings to subdivide the discussions of each piece. Nevertheless, these discussions follow the structure of the

23 In Japan, this method book by Beyer is very popular and commonly used by teachers. It was brought by American music educator, Luther Whiting Mason (1818-1896) to Japan in 1881. 73 preceding sections of this chapter in that brief stylistic overviews segue innto considerations of the performance issues.

1. Alice in the Golden Afternoon [CD 2-1]

This first piece introduces the pianist to AAlice at the point in her story where she is falling asleep in the shade under a tree. To help create this image, Kinoshita suggests that pianists play this piece like a lullaby.

The theme of this piece returns in varied form in many of the subsequent pieces

(Example 3.47). The form is ABA’ and the key is C major. Kinoshita only uses simple triads in this piece and often uses these triadic chords as color changes. For instance, shifts from major to the parallel minoro are used frequently for color (mm.10-11, 18-19,

26-27, 30-31, 42-43, and 50-51) (Example 3.47).

Kinoshita primarily uses homophonic writing: a simpple melody in the right hand overlays accompanimental broken chords in the left. Because of the right hand melody, this piece is useful for developing lyricism.

Level of Difficulty: Easy

Example 3.47: Makiko Kinoshita, Alice in Wonderland, no.1, mm. 10-14

2. Down the Rabbit-Hole [CD 2-2]

This piece describes Alice chasing a rabbit that dives into a hole. Continuous sixteenth-notes are used throughout the piece, musically reprresenting a chase.24 The key is again C major and the form is ABACA with a short introduction (mm. 1-4). The texture is homophonic, featuring a melody with alberti bass accompaniment (Example

3.48). In the A section minor seconds are used percussively (mm. 11-12, 19-20, and 39-

40) which helps the music sound playful and humorous (Example 3.49).

Example 3.48: Makiko Kinoshita, Alice in Wonderland, no.2, mm. 5-8

Example 3.49: Makiko Kinoshita, Alice in Wonderland, no.2, mm. 11-12

24 This is similar to Prelude 7 in 9 Preludes, especially in mm.45-48 in “Down the Rabbit-Hole” and mm. 54-58 in Prelude 7 (See Examples 3.16 and 3.17). 75

In the B section (mm. 21-32) the right hand takes over the accompanimental role and the melody switches to the left hand. In the C section (mm. 41-52) sixteenth-note passages that first appeared as broken chords in both A and B sections beecome a long descending chromatic passage describing Alice and the rabbit’s fall down the hole

(Example 3.50).

Though the music is fun and very descripttive of narrative events, playing the accompanimental sixteenth-note broken chords evenly might be tricky to play (Example

3.45). This piece is useful for improving delicate and fast finger technique.

Level of Difficulty: Intermediate

Example 3.50: Makiko Kinoshita, Alice in Wonderland, no.2, mm. 41-52

3. Pool of Tears [CD 2-3]

After chasing the rabbit, Alice loses its tracks and finds herself in a strange world where she grows bigger and then smaller without control. When she expands, Alice begins crying and her tears form a deep pool. This piece depicts Alice’s change in size with tempo changes and her crying with grace notes.

The five sections in this piece are indicated by different tempo markings. The first section acts as an introduction. The music implies A minor and describes Alice’s anxious feeling of being lost in a strange world. Grace notes indicate her dropping tears (Example

3.51).

Example 3.51: Makiko Kinoshita, Alice in Wonderland, no.3, mm. 1-4

Alice’s theme from the first piece of the set, “Alice in the Golden Afternoon,” appears in various forms. In mm. 21-22 the left hand broken chord accompaniment becomes descending broken chords, not ascending broken chords as in the original theme

(Example 3.52). The last two notes of the melody also signify Alice’s dropping tears.

Near the end of this section (mm. 21-39) Alice beegins growing bigger with poco a poco crescendo and accelerando markings from mm.36-39 (Example 3.53).

Example 3.52: Makiko Kinoshita, Alice in Wonderland, no.3, mm. 21-24

Example 3.53: Makiko Kinoshita, Alice in Wonderland, no.3, mm. 33-44

In the Poco più mosso section (mm. 40-55) there are more grace notes indicating Alice’s larger tears. This section also uses the broken accompaniment and dotted rhythmic motive from Alice’s original theme.

At the beginning of the Più mosso section (mm. 56-57) Alice becomes smaller and almost drowns in her big pool of tears (Example 3.54). Alice’s theme appears in the 78 right hand in mm. 58-60. The piece ends on a G seventh chord, giving “Pool of Tears” an unfinished feeling.

Example 3.54: Makiko Kinoshita, Alice in Wonderland, no.3, mm. 56-61

This piece is more musically and technically complex than the first two pieces.

Tempo changes might be especially challenging for the young performer. Imagining the story and scene will help the student understand and interpret the music, and will also assist in achieving a better flow. This piece provides a good trill exercise for the left hand, exercises in grace notes, and parallel third playing with both legato and staccato articulations.

Level of Difficulty: Intermediate

4. The Dodo and a Strange Race [CD 2-4]

When Alice gets to the shore of the tear pool, she sees many strange creatures.

They are all dripping-wet because of Alice’s tears. They begin running in a circle to dry 79 themselves. Motoric eighth-note passages with staccato articulations throughout the piece describe this drying race and create a cheery sense of playfulness.

While there is no key signature on the score, the music sounds in F major. The texture is homophonic and, like “Down the Rabbit Hole,” the form is ABACA with an introduction.

Here the introduction focuses on playing thirds. Since there are no fingering indications on the score, the performer must devise good fingerings to play the thirds evenly and smoothly. For example, I suggest using both hands to play parallel thirds until the third beat in m. 2. This will allow students to articulate the passage with better control.

The race commences at m.20, which is the beginning of the A section (Example

3.55). Major seconds are used percussively, as in “Down the Rabbit-Hole” (Example

3.56). The C section has melodies in the left hand; trills and chromatic passages are also introduced in many places. These trills and chromatic passages are short and help prepare students for longer trills and chromatic scales in the latter pieces of the set. Alone, this piece presents a good opportunity for practicing thirds, staccatos, trills, and sixteenth-note and chromatic passages at a fast tempo.

Level of Difficulty: Late intermediate

Example 3.55: Makiko Kinoshita, Alice in Wonderland, no.4, mm. 19-25

Example 3.56: Makiko Kinoshita, Alice in Wonderland, no.4, m.27

5. Advice from a Caterpillar [CD 2-5]

In the fifth piece of the set, Alice meets a caterpillar who is lazily smoking a hookah in the woods. The caterpillar creates a smoky, dull and gloomy atmosphere which is represented by long trills (Example 3.28). For the first time in the set we have a shift in key signature to G minor; however many accidentals make it hard to tell that this piece is in G minor. Kinoshita’s use of an A major triad in the last measure to end the piece is especially deceptive (Example 3.30a). 81

The form is ABA’ with an introduction. The reprised A’ section is compressed; it has only 15 measures whereas the first A section has 39. While the A sections focus on trills and grace notes, the B section introduces parallel thirds moving chromatically. The music in this section seems to depict the caterpilllar moving slowly: gut-first, body-later.

This piece is a good exercise for practicing trills and grace notes. Short trills often appear on the upbeat (the third beat of the 3/4 meter) and are sometimes followed by grace notes. These are tricky to connect smoothly. I suggest using measured trills, in which the performer may decide how many trills to play in a beat. One of Kinoshita’s trademarks, long tremolos, is also used in this piece in mm.29-32 (Example 3.57) and 68-

71 (Example 3.30a). Both the trills and tremolos pportray wisps of smoke floating up in the air.

Aside from technical challenges, this piece focuses heavily on musical expression.

Creating a convincing mood is essential. Without a lazy, smoky atmosphere, the music will sound square and lifeless. The performer should shift the musical downbeat to create a variety of emphases on different beats. The music must not be predictable in order to represent the caterpillar’s slow, uneven pace.

Level of Difficulty: Late intermediate

Example 3.57: Makiko Kinoshita, Alice in Wonderland, no.5, mm. 29-32

6. Cheshire Cat [CD 2-6]

For this piece, Kinoshita was inspired by an image from the Disneey movie Alice in Wonderland wherein the Cheshire cat slowly disappears until only its grin remains.25

The music conveys the weird motions of this big fat cat.

The form is ABA’. This is a tonal piece that stays in the key of D major throughout. Both the A and B sections include parallel thirds. A dotted-eighth-sixteenth rhythm also characterizes the melody of the A secction (Example 3.58). The B section also includes major seconds, which appeara as an accompaniment.

The technical focus of this piece is chromatic passages in parallel thirds (Example

3.58). These occur mostly with staccato articulations. There aare also many syncopated rhythms, including accents on weaker beats and rests on downbeats. Kinoshita encourages the performer to emphasize accents and dynamics in order to give the music a sense of originality and ownership. Here the perfoformer shoulld choose which accents and dynamics to emphasize.

Level of Difficulty: Intermediate

Example 3.58: Makiko Kinoshita, Alice in Wonderland, no.6, mm. 1-3

25 Kinoshita, Alice in Wonderlaand, 28. 83

7. A Mad Tea-Party Never Ends [CD 2-7]

In this scene, time stops while the March Hare and the Mad Hatter have a rather crazy and absurd tea party. Since they do not notice their watches have stopped, they drink tea continuously. The Mad Hatter seems to chatter incessantly, interrupting others as they speak, and this happens in the C sections of this piece.

The key signature of “A Mad Tea-Party Never Ends” is F major, but the key often changes because of accidentals. The time signature is 9/8, with occasional switches to

6/8. The form could be rondo (A B A’ C A’’) with a short introduction or large-scale ternary (See Table 3.4). The C section is a miniature rondo in which a lyrical theme keeps recurring. Each section has its own theme and every section but the C section includes hemiola rhythms.

Table 3.4: Form of “A Mad Tea-Party Never Ends”

Sections Mm. I A (Introduction 1-2) - 18 Primary theme B 19-34 LH: off-beat accompanimental pattern A’ 35-51 Primary theme II C 52-57 Lyrical theme Miniature Interruption 58-59 Vertical motion in the left hand rondo C (continued) 60-65 Lyrical theme Interruption 66-67 Vertical motion in the left hand Transition 68-75 Sequence Retransition 76-79 Vertical motion in the left hand C 80-87 Lyrical theme Extended 88-99 Vertical motion in the left hand transition I A’’ 100-121 Primary theme

The A section has a memorable theme that repeats many times thrroughout the piece (Example 3.59). A left hand off-beat accompanimental pattern signifies the B section. Both the A and B sections are energetic and jovial.

Example 3.59: Makiko Kinoshita, Alice in Wonderland, no.7, mm. 3-4

In contrast to the lively character of A and B sections, the C section has a lyrical quality. In mm.52-57 Kinoshita also uses a polyphonic texture; this is unique because

Kinoshita usually uses a homophonic texture (Example 3.60). While the lyricism defines the character of the C section, the Mad Hatter oftten interrupts the melodic line. For example, unexpected vertical motion appears in the left hand in mm. 63 and 83. This motion is tricky because it moves chromatically in parallel major seconds with staccato articulations (Example 3.61a and Example 3.61b)).

The transition (mm. 68-75) introduces a new theme in the right hand in parallel thirds; the left hand accompanies the right hand with grace notes (Example 3.62a). In the closing A section these parallel thirds and grace notes reappear in conjunction with the A section’s own thematic material (Example 3.62b).

Example 3.60: Makiko Kinoshita, Alice in Wonderland, no.7, mm. 52-57

Example 3.61a: Makiko Kinoshita, Alice in Wonderland, no.7, m. 63

Example 3.61b: Makiko Kinoshita, Alice in Wonderland, noo.7, mm. 83

Example 3.62a: Makiko Kinoshita, Alice in Wonderland, no.7, mm. 67-75

Example 3.62b: Makiko Kinoshita, Alice in Wonderland, noo.7, mm. 116-121

The overall mood of this piece is happy and humorous. As Kinoshita indicates in her comments on the score, this piece is more technically difffficult than the earlier six pieces.26 The technical elements in this piece include an unusual time signature (9/8), hemiola rhythms, dynamic contrasts, frequent mood changes, and abrupt leaping chords.

There are sections with mirror and parallel motioons in both hands, such as m.26 and mm.104-105 (Examples 3.63a and 3.63b). These sections sound better if the left hand uses less dynamic range and is generally quieter than the right.

For the transition section, appropriate fingerings and smooth arm motions are necessary in mm.70-71, 74-75 and 117-119. These might be especially difficult for young students because of the use of hemiola rhythms and shifting positions in both hands. I suggest the following fingerings for those sections: the left hand should use fixed fingerings 2 and 3 for all the grace notes, and the right hand should use close positioned fingerings (Examples 3.62a and 3.62b). Masterinng this piece will certainly open the door for more advanced repertoire.

Level of Difficulty: Medium difficult

Example 3.63a: Makiko Kinoshita, Alice in Wonderland, no.7, m. 26

26 Kinoshita, Alice in Wonderlaand, 32. 88

Example 3.63b: Makiko Kinoshita, Alice in Wonderland, noo.7, mm. 104-105

8. The Queen’s Croquet-Ground [CD 2-8]

The two sections in this piece describe the two events of the story, the Queenn’s march and her croquet game. The Queen’s march has two thematic ideas: a fanfare for her appearance and her actual march. The fanfare theme imitates a trumpet sound

(Example 3.64) while her march is depicted by chords in both hands. Kinoshita indicates that the performer should play those chords with dignity.27

Example 3.64: Makiko Kinoshita, Alice in Wonderland, no.8, mm. 1-7

27 Kinoshita, Alice in Wonderlaand, 42. 89

When the Queen and her servants play a croquet game, the motion of a croquet ball in the game is conveyed by chromatic scales in the right hand and bouncing leaping chords in the left (Example 3.65). The themes from “Alice in the Golden Afternoon” and “Cheshire

Cat” also appear in this movement (Example 3.66).

Example 3.65: Makiko Kinoshita, Alice in Wonderland, no.8, mm. 89-92

Example 3.66: Makiko Kinoshita, Alice in Wonderland, no.8, mm. 76-77

The form of this piece is rather hard to define and could be quasi rondo form or

ABA’ form (See Table 3.5). There are double bars between mm. 41 and 42 and between mm. 88 and 89, dividing the Queen’s croquet game from her march. The opening and ending of this piece is symmetrical; it begins with fanfare and march and ends with march and fanfare. Within the piece fanfare is used to introduce the croquet game.

Table 3.5: Form of “The Queen’s Croquet-Ground”

Mm. 1 6 25 35 42 68 76 80 84 88 101 110 Themes F Q Q + F C Cat + Q Alice Q F C (C) + Q F Alice + Cat Rondo A B C A’ B’ A’’ (coda) form Large- A (Queen’s fanfare and B (Croquet game with other characters ) A’ (Queen’s scale march) fanfare and ternary march) *Double lines indicate that the score has double bars to divide sections. F = fanfare Q = Queen’s march C = croquet game Alice = Alice’s theme Cat = Cheshire Cat’s theme

The technical focuses in this piece are playing triplets and duplets at the same

time (two against three), open fifths and triadic chords, and chromatic scales. The

Queen’s croquet section is especially difficult because of its fast chromatic scales. There

are also many contrasting musical ideas and these create several musical challenges.

Contrasting tone colors must be used for the trumpet like fanfare, the bouncing croquet ball, and the grand dignified march, as well as Alice’s and the Cheshire Cat’s returning themes.

Level of Difficulty: Medium difficult

9. The Trial in a Muddle [CD 2-9]

This piece acts as grand finale for the set and includes much of the main thematic material from the earlier pieces. The themes that recur the most are the Queen’s march and fanfare, indicating her dominance over the trial. The Table 3.6 below shows the appearances of the themes.

Table 3.6: Form of “The Trial in a Muddle”

Mm. Themes Keys 1 Queen E 19 Mad tea- party F 65 Queen E 74 Rabbit + Alice C 90 Queen + Alice Whole-tone 99 Caterpillar Gm 110 Dodo + Alice F 124 Queen E 130 Alice Whole-tone 134 Queen E *Double lines indicate that the score has double bars to divide sections.

Like the title suggests, the reappearance of earlier themes seem to muddle this piece.

Each theme is slightly varied in rhythm and grows more complex with the addition of

notes. For example, here the left hand of the Rabbit’s theme has A-flat and E-flat major

chords on the fourth beat; before it only used C major chords (Examples 3.67 and 3.48).

These variances create many shifts in color but also increase the technical difficulty of the work.

As Kinoshita states in the score, the form of this piece is a quasi-rondo. The first

section in mm.1-18, which includes the Queen’s march, and the second section in 92 mm.19-64, which draws from “A Mad Tea-Partyy Never Ends,” are relatively long compared to the other sections. The mad tea-party section includes themes from it’s A and C sections as well as transitory materials, such as extendeed transition and interruption

(see Table 3.4). In mm. 74-89 the Rabbit’s theme has a tremolo accompaniment; in its original form it had a broken chord accompaniment (Example 3.67).

Example 3.67: Makiko Kinoshita, Alice in Wonderland, no.9, mm. 74-75

One of Alice’s themes also appears at the end of this ““Rabbit” section (Example

3.65). In mm.90-98 the Queen’s theme comes bacck in the rigght hand and Kinoshita quotes the whole-tone, swirling gesture in the left hand that represented Alice’s pool of tears (Example 3.68). The “Caterpillar” section, following at m. 99, appears in 4/4 time as opposed to its original 3/4 time. In mm.140-143, Kinoshita uses a long chromatic scale from the Queen’s croquet game in the left hand to end the piece (Example 3.69).

This piece is the most difficult in the set. Kinoshita mentions on the score that this piece should be learned as a review piece for the performer who has studied all the earlier pieces.28

Level of Difficulty: Medium difficult

28 Kinoshita, Alice in Wonderlaand, 50. 93

Example 3.68: Makiko Kinoshita, Alice in Wonderland, no.9, mm. 88-96

Example 3.69: Makiko Kinoshita, Alice in Wonderland, no.9, mm. 140-143

10. After the Dream [CD 2-10]

This piece is an arrangement of the first piece of the set, “Alice in the Golden

Afternoon.” Alice wakes up under the tree and realizes that her adventure in Wonderland was a dream. Still sleepy, she enjoys the afterglow of her dream.

“After the Dream” retains the same key and ABA format as “Alice in the Golden

Afternoon.” A short introduction in mm. 1-9, howwever, depicts dreamy and obscure musical characters with a long tremolo line (Example 3.70). Kinoshita uses whole-tone chords in this long tremolo section with parallel voice-leading.

Example 3.70: Makiko Kinoshita, Alice in Wonderland, no.10, mm. 1-9

The melody is almost the same as the first piece; but here it is accompanied by more colorful harmonies. Kinoshita uses extended tertian chords in this piece whereas simple triadic chords sufficed in the first piece of the set. Those extended tertian chords give this harmonization of the melody a jazz-likee quality. The left hand plays broken accompanimental patterns, using a wider range of the keyboard than the other pieces. In the B section, Kinoshita uses opposite dynamics to the first piece, marking the music p 95 instead of mf. She also adds a few extra measures at mm. 42-43 and mm. 62-65.

Fingerings should be carefully considered in order to play the left hand smoothly and not accented.

Level of Difficulty: Intermediate

Summary

While this programmatic suite is meant for children, it would give pianists of all ages ample opportunities to develop technique and musicality. In particular, students could work on percussive playing, passages in thirds, chords, staccato and legato articulations, chromatic scales, trills, tremolos, grace notes, and polyrhythms (see Table

3.7). Furthermore, pieces in a fast tempo will develop finger dexterity and pieces with chords will develop arm and hand support.

By studying the whole set, students can learn a significant amount about musical structure and form. For example, nos. 1 and 10 are symmetrical and unify the set. Each character of the story has its own musical theme and when these themes reappear in other pieces they are usually varied and embellished.

Table 3.7: Summary of Technical Focuses in Alice in Wonderland Percussive playing nos.2, 4, 7, and 9 Passages in thirds nos.3, 4, 5, 6, 7, 8, and 9 Chords nos.7, 8, and 9 Staccato articulations nos.4, 5, 7, 8, and 9 Legato articulations nos.1, 3, and 10 Chromatic scales nos.2, 4, 5, 6, 7, 8 and 9 Trills nos.3, 4, 5, 6, and 9 Tremolos nos.2, 5, 9, and 10 Grace notes nos.3, 5, 7, 8, and 9 Polyrhythm nos.5, 8, and 9 96

Yet while this suite offers so many opportunities for developing and improving pianism, it might be technically challenging for young pianists. Michiko Asai, the first pianist to record the whole set, asserted that it is impossible for children to play these pieces well.29 One of the reasons why this set may be more difficult is because there are no fingering markings in the score. In fact, Kinoshita has never put any fingering markings in her piano music. For her, fingerings have never caused problems and she never thought that giving fingering markings would be helpful for developing pianists.

After receiving feedback from several colleagues, Kinoshita did agree that the set was difficult and suggested that perhaps it was better suited for children to listen to than to

play.30 Although this may make the entire set less accessible for younger and less

experienced students, these students could easily learn specific pieces of the set. As

students grow older and gain more musical skills, the set as a whole may become more appropriate.

Alice in Wonderland, Overall Level of Difficulty: Easy – Medium difficult

29 Alice in Wonderland, Victor Entertainment VICS-61218, CD, 1999. 30 Kinoshita, interview answers to author, February 1, 2011. 97

Works for Children

Kinoshita has composed several independent short pieces specifically for children to play.31 Many of these pieces have lively and imaginative names, including Hop, hop

and Song Sung by a Dog Looking at its own Tail, which stimulate interest by relating the

music to a child’s everyday life. These pieces are stylistically much simpler than those in

Alice in Wonderland, often following ternary (ABA’) form. The keys are usually simple,

such as C, F, G, and D major, but Kinoshita adds sophisticated harmonic colors by

inserting accidentals in many places. Only Children’s Song in Africa is completely

diatonic.

Hop, hop (1988) [CD 2-11]

This piece was first published in The Collection of Piano Pieces by Composers

for Children: Message 7 in 1988 and again in Carnival: Piano Solo Album for Recitals in

1997.32 In the score Kinoshita suggests playing this piece with joy by imagining a little,

naughty bunny hopping and playing.

The piece is in the happy key of C major and is filled with staccato articulations

and syncopations. Accents are usually placed on weaker beats in cut time (Example

3.71). Trills (m. 3), chromatic scales (m. 4), and grace notes (m. 40) provide additional

technical challenges for the young performer. Linear chromatic bass motion in mm.17-25

31 These pieces were published by Edition KAWAI separately in The Collection of Piano Pieces by Composers for Children. Today this series is difficult to find, however some individual copies can be obtained from the online music store Edition KAWAI ONLINE. “Edition KAWAI ONLINE,” accessed January 5, 2011, http://editionkawai.jp/. 32 発表会ピアノ曲集カーニバル (Happyo-kai Piano kyokushu: Carnival) [Carnival: Piano Solo Album for Recitals] is published by Edition KAWAI. The book is one of three books that Edition KAWAI chose suitable repertoire for a recital among pieces that had been published in The Collection of Piano Pieces by Composers for Children in the series 1-10. 98

(Example 3.72) also serves as an example of a more advanced compositional technique in a simpler setting: we saw this technique prior in 9 Preludes.

Level of Difficulty: Easy

Example 3.71: Makiko Kinoshita, Hop, hop, mm. 1-4

Example 3.72: Makiko Kinoshita, Hop, hop, mm. 16-25

The Lion with the GI haircut (1989) [CD 2-12]

For this piece Kinoshita was inspired by a poem of the same title by Takashi

Yanase (b. 1919).33 The poem describes a kind lioon who has his mane cut short in order to make a present for his beloved. This piece was republished in 1994 in the omnibus volume The Collection of Piano Pieces by Composers for Children.34 For this publication, anonymous musicians chose their favorite pieces from the series in commemoration of its 20th anniversary.

The piece focuses on rhythms: the left hand has rhythmic patterns that are reminiscent of Latin music35 (Example 3.73). The G major melody is quite catchy and many places present the melody in parallel thirdss, much like a song in two voices.

Level of Difficulty: Easy

Example 3.73: Makiko Kinoshita, The Lion withh the GI haircut, mm. 1-3

33 Takashi Yanase, Aisuru Uta [Love songs] (Tokyo: Sanrio-sha, 1977). 34 Makiko Kinoshita, “The Lion with the GI haircut.” in The Lion with the GI haircut, ed. Japan Federation of Composers (Tokyo: Edition KAWAI, 1994). 35 This left hand rhythmic pattern is based on habanera rhythm which is originally from Cuba. However it is known from Spain because of Bizet’s Carmen. 100

Song Sung by a Dog Looking at its own Tail (1990) [CD 2-13]

This piece was published in The Collection of Piano Pieces by Composers for

Children by 44 Composers for Children: Animal Chapter 1. Kinoshita also composed a choral work with the same title in 1995; however that music ddoes not relate to this solo piano piece.

The title of this piece comes from another poem by Takashi Yanase. This poem describes a dog that wonders why its tail waggles when he is happy and hangs down when he is sad. In the music only the dog’s waggling tail is depicted: grace notes and staccato articulations create the image of a happy puppy (Example 3.74).

The piece starts in C major and modulates to A-flat major in the B section in m. 9.

Technical issues include learning to play triplets and grace notes. There are sections with parallel and mirror motions in both hands (mm.12 and 16), which are similar to “A Mad

Tea-Party Never Ends” from Alice in Wonderland.

Level of Difficulty: Easy

Example 3.74: Makiko Kinoshita, Song Sung by a Dog Looking at its own Tail, mm. 1-4

101

Children’s Song of Africa (1991) [CD 2-14]

This piece is influenced by East African folk music and contains shifting meters.36

In fact, the main technical focus is rhythm. The constant alternation of 5/8 and 2/4 time may be tricky until the performer gets used to the patterns (EExample 3.75). Kinoshita instructs the performer to play rhythmically and vigorously and to imagine the broad earth of Africa. The key is G major, with no added accidentals, and the dynamics range from mf to f. This piece is useful for learning syncopations, accents, playing in thirds, and playing in irregular meters.

Level of Difficulty: Easy

Example 3.75: Makiko Kinoshita, Children’s Song of Africa, mm. 1-4

Soft Bavarian Creme (1994) [CD 2-15]

This piece was published in The Collection of Piano Pieces by 42 Composers for

Children: The Piano Restaurant. When Kinoshita was a child, Bavarian creme was her

36 Kinoshita, interview answers to author, February 1, 2011. Kinoshita wrote this piece because of the strong impression that East African music left on her after she first heard it from a CD. 102 favorite snack. She composed this particular mussic with memories of that delicious taste.37

This homophonic piece focuses on lyrical playing in the right hand over rolleed chords in the left hand. The left hand rolled chords use smooth voice-leading, which is similar to Prelude 6 in 9 Preludes. The melodic lines are usually in the right hand but are occasionally taken by the left. An imitative section in mm.133-16 has the left hand echo the right (Example 3.76).

Kinoshita instructs the performer to play the melody like it is being sung.38 The performer also needs to play smoothly when a cross-melody occurs between hands in mm.23-26 (Example 3.77). The audience should not hear when the hand switches.

Because this piece contains dotted rhythms and rolled chords it may be a good exercise to learn before Preludes 4 and 6 from 9 Preludes (Example 3.78).

Level of Difficulty: Easy

Example 3.76: Makiko Kinoshita, Soft Bavarian Creme, mmm. 12-16

37 Makiko Kinoshita, “Soft Bavarian Cream.” in The Collection of Piano Pieces by 42 Composers for Children: The Piano Restaurant, ed. Japan Federation of Composers (Tokkyo: KAWAI, 1994-5), 6. 38Ibid. 103

Example 3.77: Makiko Kinoshita, Soft Bavarian Creme, mm. 20-27

Example 3.78: Makiko Kinoshita, Soft Bavarian Creme, mmm. 8-11

A Memorable Lemon Pie (1995) [CD 2-16]

This piece was composed in 1995 and published in 1996 in The Collection of

Piano Pieces by Composers for Children: The Dessert 1. The title comes from

Kinoshita’s experience baking a lemon pie when she was in high school. She liked lemon pie because it was easy to make and tasted good.39 The style of this piece is similar to

SoS ft Bavarian Crème because of its 6/8 time signnature and lyrrical singing character. The texture, however, is different. In this piece the melodic lines aappear in both hands; a

39 Makiko Kinoshita, “A Memorable Lemon Pie.” in The Collection of Piano Pieces by Composers for Children: Dessert 1, ed. Japan Federation of Composers (Tokyo: KAWAI, 1996). 104 single hand can also play more than one melody (Example 3..79). While the key is in A minor, the piece ends with a Picardy third (an A major triad).

Overall Level of Difficulty: Easy

Example 3.79: Makiko Kinoshita, A Memorable Lemon Pie, mm. 17-20

WakuWaku [Exciting] (2000) [CD 2-17]

The compositional style of this piece is quite similar to Preludes 3, 5, and 7 in 9

Preludes. For example, mm.16-18 of this piece resembles mm.16-17 in Prelude 7. Both have the same rhythmic motives in the right hand and parallel fifths in the left (Examples

3.80a and 3.80b). The fast parallel sixteenth-notee figuration an octave apart in m.18 can be seen in Preludes 3 and 5. Hemiola rhythms in 6/8 time in m.25 is similar to m.21 in

Prelude 5 (Examples 3.81a and 3.81b). Thus, this piece woulld be a good preparation piece for portions of 9 Preludes.

Level of Difficulty: Intermediate

105

Example 3.80a: Makiko Kinoshita, Waku Waku [Exciting], mm. 16-18

Example 3.80b: Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 16-18

Example 3.81a: Makiko Kinoshita, Waku Waku [[Exciting], m. 25

Example 3.81b: Makiko Kinoshita, 9 Preludes, Prelude 5, m. 21

Uto Uto [Dozing] (2003) [CD 2-18]

Like the title of the piece, the music describes when one is trying hard to stay awake and not fall asleep. To convey this sense of drowsiness Kinoshita used chromaticism and dotted rhythms. In particular, the left handd’s chromaticism seems to describe yawning. Fingerings should be carefully considered in order to play a long phrase of dotted rhythms with legato articulationss.

The use of dotted rhythms and chromaticism is also found in “Cheshire Cat” from

Alice in Wonderland (Examples 3.82 and 3.58). This piece and Uto Uto seem to have similar musical characters: in “Cheshire Cat” the music describes the fat, lazy, weird cat moving slowly and lazily.

Level of Difficulty: Easy

Example 3.82: Makiko Kinoshita, Uto Uto, mm. 1-3

Moa (2006) [CD 2-19]

The moa is a flightless bird that used to livve in New Zealand before it became extinct a few hundreds years ago. Some moa reached about 4 meters (12 ft) in height when they stretched their necks. They also had big, strong legs instead of wings for 107 running on the ground. Kinoshita’s music describes both this running and the huge moa walking with a magnificent step.

The form is ternary with contrasting A and B sections. The outer A sections are in

A minor and the B section is in A major; the A section is slow while the B section is fast.

Material in the A section also resembles the Queen’s theme (march theme) from Alice in

Wonderland (Examples 3.83a, 3.83b, and 3.83c). Like “The Queen’s Croquet-Ground” and “The Trial in a Muddle,” Kinoshita uses parallel fifths in the left hand with a 4/4 meter.

Example 3.83a: Makiko Kinoshita, Moa, mm. 1-8

108

Example 3.83b: Makiko Kinoshita, Alice in Wonderland, no.8, mm. 8-9

Example 3.83c: Makiko Kinoshita, Alice in Wonderland, no.99, mm. 1-2

Toward the end of the first A section, there is an accelerando marking in m.11.

At the same time the rhythmic duration in the left hand intensifies (Example 3.84). In the

B section, when the moa are running, the tempo increases from quarter-note at 120 beats a minute (m.13) to quartere -note at 138 beats a minute (m.17). At the reprised A section

(m 40) the tempo returns to its original majestic pace.

Technical focuses in this piece are legato chords and thirds. When the tempo changes it should be smooth instead of rushed or choppy. Beccause of the tempo changes, passages in thirds, and choral-texture writing, this piece is technically and stylistically more complicated than Kinoshita’s earlier pieces for children.

Level of Difficulty: Intermediate

109

Example 3.84: Makiko Kinoshita, Moa, mm. 9-12

E.q.quagga (2007) [CD 2-20]

The quagga (Equus quagga quagga) is an extinct subspecies of the Plains zebra.

Its name comes from its distinctive call, which sounds like the word “quagga.” The quaggas had stripes on the front part of the body that faded ouut in the middle. The rear parts were brown. They used to move from one place to anotthher by making a long line.

Successive eighth-note accompaniment seems to portray this scene.

A parallel thirds motif with a grace note imitates the call of quagga and rhythmic groups sometimes go over the bar line (Example 3.85). The left hand has ostinato rhythms in consistent eighth notes. These patterns require the performer to stretch the left hand, which might be tricky for a smaller child’s hand. Since the right hand melody also comprises eighth notes, it sounds better for the leeft hand to quietly overlap each of its eighth notes. It will make the left hand sound atmospheric rather than competing with the melody.

In addition to stretching the left hand for legato playing, there are other technical issues that younger students might encounter. Two melodies are played by one hand

(Example 3.86). This piece is useful to practice legato playing and thirdss. Especially a phrase in double thirds in m.29 might be tricky to play in leggaato (Example 3.87). 110

Level of Difficulty: Intermediate

Example 3.85: Makiko Kinoshita, E.q.quagga, mm. 10-11

Example 3.86: Makiko Kinoshita, E.q.quagga, mm. 19-22

Example 3.87: Makiko Kinoshita, E.q.quagga, mm. 27-29

111

Summary

After composing several piano pieces for children, Kinoshita realized her difficulty and frustration with composing simpler music for children. She felt restricted because she could not use complicated chords or textures. Pieces must be short and technically simple.40 In fact, she often spent a long time composing a children’s piece

because she found the limited compositional techniques quite constricting.

Yet, like her advanced works, Kinoshita’s works for children include sophisticated harmonies and rhythms. They also draw heavily upon popular culture in

order to connect with younger students. For example, titles include animal names,

feelings, children’s favorite foods, and actions, which relate to children’s everyday life.

Each work also has a title and a short description of the piece by the composer. Many

scores are further accompanied by pictures.41 These titles, descriptions and pictures help

inspire children’s imaginations and make it easier for children to connect their emotions

to musical sound. These pieces will certainly prepare the young student for Kinoshita’s

more advanced repertoire, including Alice in Wonderland, 9 Preludes, and A Circuit of

Dreams.

40 Kinoshita, interview answers to author on February 1, 2011. 41 All the scores except a few that were obtained directly from Kinoshita have pictures and descriptions on the score. Those pictures were added by Edition KAWAI in the process of publication. Kinoshita, as well as other composers working with Edition KAWAI, did not have any say in the illustrations. 112

Table 3.8: Summary of Technical Focuses in Works for Children

Focuses\ nos. 1 2 3 4 5 6 7 8 9 10 Rhythmic X X X X X Lyricism X X X Staccato X X X X X X X Legato X X X X X Syncopations X X X X Accents X X X X Grace notes X X X Parallel X X X motion Mirror X motion Rolled X chords Hemiola X X Counterpoint X X Shifting X X meters Passages in X X X X X X thirds Chords X X X X Dotted X rhythm Triplets X Chromatic X scales Trills X X

1: Hop, hop 6: A Memorable Lemon Pie 2: The Lion with the GI haircut 7: Waku Waku 3: Song Sung by a Dog Looking at its own Tail 8: Uto Uto 4: Children’s Song of Africa 9: Moa 5: Soft Bavarian Cream 10: E q. quagga

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Mother Goose

Kinoshita was commissioned by Edition KAWAI to write this work. The score is included in a picture book, Mother Goose, which was published in 1991.42 The book

includes texts and pictures of sixteen songs and is illustrated by Naomi Tsuda (b. 1960).43

However, as Edition KAWAI commissioned Tsuda and Kinoshita separately, the artists did not have a chance to work together on the project. This book is out-of-print today and is only available at auction.

The work is a suite that includes fifteen arrangements of nursery songs for piano.

While the front cover has titles in both Japanese and English, the lyrics for the nursery songs are in English. Kinoshita has revealed that arranging pre-existing songs is not her favorite style of composition, but she has also acknowledged that arranging can be fun and allows a certain amount of freedom.44 This might be the reason this suite is the only

arrangement among her piano compositions.

On the whole, the music remains relatively faithful to the original tunes.

Sometimes Kinoshita varies the tune by using counterpoint, adding new harmonies, or

providing an introduction. Most of the pieces are relatively easy; only the last three

pieces become more difficult.45 Most of the pieces are in a major key and sound playful,

but a few do focus on lyrical playing. Additional technical challenges include octave

playing, thick chords, big leaps, broken chord accompaniments in a wide range of the

keyboard, and fast sixteenth-note passages.

42 Makiko Kinoshita, Mother Goose (Tokyo: Edition KAWAI, 1991). The book was published along with a mini-CD. 43 “There was an Old Woman” which does not have a score, is inserted between “Hey Diddle Diddle” and “Who killed Cock Robin?” 44 Kinoshita, interview answers to author on February 1, 2011. 45 These difficulties arise primarily from the pieces’ complex texture. 114

According to Kinoshita, this set is for children to listen to rather than to play.46

Yet many pieces have simple, imaginative writing that is suitable for young students. The following paragraphs briefly summarize the character of each piece and indicate the primary pianistic techniques.

1. Three Blind Mice [CD 2-21]

This piece is faithful to the original tune and presents the melody in E major.

There are two contrasting types of figurations in this piece: blocked chords and a melody in playful rhythms. The motive “three blind mice” is always played in blocked chords. In mm. 13-16 the motive is played by a canon in both hands. This would be a fairly accessible piece for a late beginner with a hand capable of playing a four-note chord with an octave outline.

Level of Difficulty: Easy

2. Mrs. Bond [CD 2-22]

This piece is also faithful to the original tune. The key is C major, and the music utilizes a small range and transparent texture through which to portray a character that is at once flowing and innocent. Although syncopated rhythms in the left hand spice up the homophonic texture, this piece is technically the easiest in the set. It is a delightful and charming work that is quite suitable for a young pianist who has an octave stretch.

Level of Difficulty: Easy

46 Kinoshita, interview answers to author, February 1, 2011. 115

3. Old King Cole [CD 2-23]

This piece in F minor has an introduction in mm. 1-4, foreshadowing alterations of the original tune. The melody is lyrical and accompanied by a counter melody. When repeated a second time, the melody is slightly varied and played in a higher register. The left hand has triadic, rolled chords, which contribute to an overall thicker texture in comparison to the first two pieces. On the whole, “Old King Cole” is a good exercise in lyricism. Aspects of contrapuntal writing present a challenge to the developing pianist.

Level of Difficulty: Intermediate

4. The Cuckoo [CD 2-24]

Like “Old King Cole,” “The Cuckoo” also has an introduction in mm. 1-4. This simple, cheerful tune is accompanied by staccato octaves in the left hand. These octaves may prove difficult for young students who have small hands. Echo effects in mm. 19-21 require contrasting dynamics between the hands, which involves the technique of crossing arms.

Level of Difficulty: Easy

5. Pussy Cat [CD 2-25]

This piece presents the original tune in F major with a short introduction in mm.

1-2. Technical focuses include grace notes and chords with staccato articulations. The left hand usually has a waltz-like accompaniment, but this changes in mm. 12-15: here the left hand plays a cute, bouncy tune and the right hand plays chords off the beat. It is 116 the first time in this set that the left hand has a distinct melody. This piece will help students learn to control a melody that alternates between the hands.

Level of Difficulty: Easy

6. On Christmas Day [CD 2-26]

This lyrical piece is in A minor but ends with a Picardy third. Kinoshita introduces the original tune, but weaves in new counter melodies, creating a more complex contrapuntal texture. The accompaniment in the left hand along with rolled chords in the right hand require a larger, more flexible hand. This piece provides students with the opportunity to improve their smooth and expressive playing. The melody in parallel thirds also recalls selections from Kinoshita’s original compositions Alice in

Wonderland and E.q.quagga.

Level of Difficulty: Intermediate

7. Jack and Jill [CD 2-27]

This is a very playful, short piece. Kinoshita preserves the original tune in C major. Technical focuses include grace notes, trills, and swing rhythms. The trickiest section is in mm. 9-12, as the left hand crosses over the right hand. Here it is easy for a young student to miss notes: it is as if the pianist becomes like Jack trying to balance his bucket of water. Try not to spill your notes!

Level of Difficulty: Easy

117

8. Goosey, Goosey Gander [CD 2-28]

This is also a playful piece. The original tune is usually in the right hand, accompanied by a rhythmic left hand. Like “Pussy Cat”, the left hand takes the melody in mm. 13-16. A short counter melody in the left hand follows in mm. 17-18. Technical focuses include grace notes and chords with staccato articulations. Accents on weaker beats and rests on downbeats add a surprising punch, musically depicting the comical motion of a gander walking, waggling, and gaggling through the grass.

Level of Difficulty: Intermediate

9. Rock-a-bye, Baby [CD 2-29]

In this piece lyrical melodies are taken equally by both hands. Occasionally, two contrasting melodies are also played by one hand. In mm. 18-20 the melody is played in octaves. Smooth arm motion is required to play long, melodic phrases seamlessly.

Successive rolled chords in the right hand in mm.13-18 should be played smoothly, and require careful attention in regard to arm gesture as well. When playing these chords, the longer phrase and forward direction of the musical gesture is of paramount importance.

Level of Difficulty: Intermediate

10. Humpty Dumpty [CD 2-30]

This piece has an extensive introduction in mm. 1-8, which includes a canon between the hands. Kinoshita is faithful to the original tune “Humpty Dumpty,” but singing this tune before playing the piece may help performers shape the end of the phrase more naturally. It is easy to cut off the end of a phrase if one does not know the 118 song well. Like “Jack and Jill,” this piece also uses swing rhythms and its charming ending is similar to the ending of “Cheshire Cat” in Alice in Wonderland.

Level of Difficulty: Intermediate

11. Saint Paul’s Steeple [CD 2-31]

In this piece the left hand imitates a bell sound of a cathedral by octave playing.

The right hand plays a melody in successive sixths and first inversion chords throughout the piece. The music should sound magnificent. Make sure arm gestures are smooth and try to create long phrases as in “Rock-a-bye, Baby.” The notes are not hard to learn and can provide a good vehicle for playing with full arm weight in the keys. It may be technically challenging for younger students to control arm weight efficiently.

Level of Difficulty: Intermediate

12. Hey Diddle Diddle [CD 2-32]

Like “Humpty Dumpty,” the introduction of “Hey Diddle Diddle” includes a canon (mm. 1-4). The playful tune is supported by rhythmic accompaniment. The left hand also takes a turn with the melody in mm. 16-22. Repetitive notes with staccato articulations may prove tricky for the less advanced pianist, but they help create the overall mood for this happy and charming work.

Level of Difficulty: Intermediate

119

13. Who Killed Cock Robin? [CD 2-33]

This piece is more complex and double the length compared to earlier works in this set. Chorale-like textures and counterpoint are used throughout the piece, presenting the tune in various guises and patterns. Both the melody and counter melodies are often played simultaneously, and the performer faces challenges in balancing the texture.

Emphasizing different voices can provide interesting contrasts within a performance.

Other technical focuses include octave playing, thick chords, and large leaps.

Level of Difficulty: Intermediate

14. London Bridge [CD 2-34]

The opening has a four-voice canon which is tricky because of its combination of duple and dotted rhythmic patterns. While the tune of this piece is straight forward,

Kinoshita’s exploration of key changes and rhythms add much to this well known tune.

Four sections are indicated by different key areas. The piece begins in D major, modulates to E-flat major and E major, and then ends in B-flat major. In the first section

(D major) the music is playful with staccato articulations in a chorale texture. The second section (E-flat major) has a lyrical quality. The melody is played in the middle voice in mm. 17-20. The accompaniment in this section is in a broken chord accompaniment and uses a wide range of the keyboard. The third section (E major) focuses on syncopated rhythms. Here the original tune is rhythmically varied and melodically reshaped with octave transfers moving the theme through different layers of the texture. The final section (B-flat major) starts lyrically in a slower, meno mosso tempo. Here the left hand plays bell-like chords in which the tenor voice forms a counter melody. The music 120 becomes more exciting with an a tempo marking and fortissimo dynamic. Technical challenges include octave playing, thick chords, and large leaps.

Level of Difficulty: Late intermediate

15. Twinkle, Twinkle Little Star [CD 2-35]

This last piece of the set is the most difficult. While Kinoshita faithfully uses the tune of the original song, she couches it amongst many technical challenges. Twinkling stars are depicted by trills in a high register. Tremolos and broken-chord accompaniments are used in a wide range of the keyboard. Fast sixteenth-note passages are used throughout the piece, often under a melody in octaves or thick chords. The closing section modulates often and ends in C major, the dominant of the home key of F major. The last chord featuring a tritone (F and B) is exotic and unresolved, and floats the figuration into the upper register with a diminuendo to pianissimo. This brings the whole set to an ethereal conclusion.

Level of Difficulty: Early advanced

Summary

While the set is technically less demanding than Alice in Wonderland, it still exploits the instrument’s potential for color. Kinoshita’s imaginative settings of these well known tunes make this collection an attractive one for the developing pianist. While young students will especially enjoy practicing the easier pieces, teachers must be careful that a student’s hand will be able to reach all of the larger stretches comfortably. The last 121 three pieces are more complex musically and technically, and therefore should be reserved for more advanced pianists.

Mother Goose, Overall Level of Difficulty: Easy – Early Advanced

Table 3.9: Summary of Technical Focuses in Mother Goose

Focuses\ nos. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Rhythmic X X X X X X Lyricism X X X X X Staccato X X X X X X X X Legato X X X X X X X X X X Syncopations X X X X Accents X X X X X X X X Grace notes X X X Parallel X motion Mirror X motion Rolled chords X X X X X X Hemiola Counterpoint X X X X X X X X X Passages in X X X X X thirds Chords X X X X X X X X X X X X X Dotted X X rhythm Chromatic X scales Trills X X X Octaves X X X X X X X X Cross hands X X Tremolos X

CHAPTER 4

CONCLUDING REMARKS

A Summary of Kinoshita’s Piano Music

Evident from Makiko Kinoshita’s piano works is her unique musical language,

which she creates by mixing elements of traditional western classical music and popular

genres, including pop, jazz, and rock. This novel combination of sounds, plus her

personal trademarks (extended tremolos, long trills, gliding fifths and cluster chords) and

a playful sense of humor, have become characteristics marking her music as new and

innovative.

As we can infer by looking at all of Kinoshita’s solo piano works, Kinoshita

composes in three distinct styles: the first style highlights a lyrical melody supported by

colorful harmonies; the second features a colorful soundscape without a clear melody;

and the third is rhythmically marked with an emphasis on syncopation and accents.1

Harmonic progressions in Kinoshita’s music usually function as color changes, underscoring her concern with sound. She chooses harmonies that she wants to hear as opposed to harmonies that follow a functional pattern.2 The performer can also enhance

Kinoshita’s colors by exploring different ways to use the pedal.

1 Kinoshita revealed that while her bold rhythms in her piano music resemble Prokofiev and Stravinsky, they come more from her love of percussion ensembles. Kinoshita, interview answers to author on February 1, 2011. 2 Kinoshita, interview answers to author on February 1, 2011. 123

Kinoshita’s music lacks detailed notations, such as pedaling, and this allows the

performer freedom in pedaling and phrasing. Each performer can create an individual sound and each performance becomes unique. Kinoshita’s solo piano works also lack any

finger number indications and this can present problems for performers. Suggested

fingerings by the composer or an experienced pianist would be most helpful for young

students as they learn music. If fingerings are provided, students do not have to spend a

long time deciding which fingerings will result in better phrasing. Fingerings can also

help students avoid technical problems that might have occurred otherwise. Aware of

these issues and heeding the advice of her fellow musicians, Kinoshita does plan to

include suggested fingerings in her future compositions.

Kinoshita’s music tends to fit the pianist’s hands well. This is largely due to her

own experience as a pianist: because of her ability to play the piano, she has an intimate

knowledge of the instrument and understands fundamental piano techniques. For example,

her piano music does not include blocked chords bigger than a ninth. This should not

prove a problem for most pianists.3 Kinoshita also mentioned in her interviews with me

that her frequent use of gliding fifths and parallel thirds is due to her own comfort playing

these intervals. In fact, these intervals are taught early to beginning piano students and

should come quite naturally to skilled pianists.

We should also consider Kinoshita’s music in light of her Japanese heritage.

Many people might expect “traditional Japanese sounds” from a Japanese composer.4

3 My hands are considered “small” in comparison with many of my piano colleagues, yet I found Kinoshita’s blocked ninth chords relatively easy to reach. 4 “Traditional Japanese sound” includes the sound created by Japanese traditional instruments, such as syakuhachi, syamisen, koto, and mokugyo [wooden fish]. They use pentatonic scales, such as D, E, G, A, and B. 124

However, as Kinoshita grew from a child into an adult, Japan began to embrace Western music more openly. Japanese people began to pair simple Japanese lyrics with Western melodies and started teaching Western music more regularly in schools.5 Eventually

Western-influenced songs became a new kind of folk music for Japan, signaling a

blending of cultures. While some composers have tried to reconnect with their Japanese identity and heritage by using traditional instruments and music, Kinoshita aims to keep her compositions “borderless.” By mixing old and new traditions together, she gives her music a unique character that is defined by its multiplicity of stylistic genres.

My Final Impressions

Because I had never played Kinoshita’s music before beginning this project, I did not know what to expect. Once I became familiar with Kinoshita’s musical language, however, the pieces came together quite quickly. I found her music imaginative and full of exciting sound possibilities.6 I also discovered that the lack of detailed notations can be

both an advantage and disadvantage for the pianist. For example, a lack of detailed

notation would make the pianist think of how the music should make sense, whereas

overly detailed notation will give the answer what to do, and the pianist would not have

to be imaginative. If the pianist uses his or her imagination to draw out many of the

5 A shift towards Western music may have resulted from the unsuitability of traditional Japanese songs for children. The lyrics of many traditional Japanese songs address the subtleties of love between a man and woman. Since the Japanese believed that talking about love in front of children was taboo, they had to create alternative ways to teach music to children. Thus new lyrics that were suitable for children were written and paired with new Western tunes. 6 Pianists working with Kinoshita’s music have many opportunities to create subtle nuances: slight changes of phrasing, tempo, pedaling, and dynamics can be very effective. 125

gestures implied by but not explicitly written on the score, Kinoshita’s music becomes a

living, breathing work well worth exploring.

As I have shown through this study, Kinoshita provides a myriad of musical sounds and techniques in her solo piano works to engage and challenge piano students of

all ages and levels. My hope is that by providing these recordings with the performance

guide, I have created a resource for teachers and pianists that will stimulate interest in

Kinoshita’s music. I strongly believe we must continue exploring new music by living

composers and we must embrace the music of those that walk among us, for composers

like Kinoshita have very much to offer.

126

APPENDIX A

A List of Kinoshita’s Musical Works [Not Including Piano Solo]

Pf = Piano Hp = Harp Sax = Saxophone Org = Pipe organ Orch = Orchestra Cl = Clarinet Perc = Percussion S = Soprano Timp = Timpani A = Alto Vc = Cello T = Tenor Vn = Violin B = Baritone Vib = Vibraphone Brass-ens = Brass ensemble

Songs Number of Title (pronunciation) [English pieces Year translation] Formation Publisher included 2011 花のかず Vocal, Pf Ongakuno tomo sha 9 (Hanano Kazu) 2010 幼年(Yo-nen) [Childhood] Vocal, Pf Edition KAWAI 1 2009 竹とんぼに(Take tonbo ni) Vocal, Pf Ongakuno tomo sha 1 サッカーによせて Vocal, Pf 1 (Soccer ni yosete) [For Soccer] 鴎 (Kamome) [Seagull] Vocal, Pf Edition KAWAI 1 動物詩集 Vocal, Pf Edition KAWAI 7 (Doubutsu Shisyu) 悲しみの枝に咲く夢 Vocal, Pf Edition KAWAI 5 (Kanashimi no edani saku yume) 2008 たんぽぽ (Tanpopo) Vocal, Pf Ongakuno tomo sha 1 [Dandelion] 夢みたものは Vocal, Pf Edition KAWAI 1 (Yume mita monowa) 古風な月(Kohu na Tsuki) Vocal, Pf Edition KAWAI 5 父の唄 (Chichi no Uta) Baritone, Alto Edition KAWAI 3 sax, Pf 2007 なにかがほら Vocal, Pf Ongakuno tomo sha 1 (Nanikaga hora) 2005 Vocalise Soprano, Hp, 1 Vc, Vib 2000 C.ロセッティの４つの歌 Vocal, Pf Edition KAWAI 4 (Four Songs by C. Rossetti) 1999 へびとりのうた Vocal, Pf Edition KAWAI 4 127

(Hebitori no Uta) 1999 三好達治の詩による２つの Vocal, Pf Edition KAWAI 2 歌 (Miyoshi Tatsuji ni yoru hutatsu no Uta) 抒情小曲集 Vocal, Pf Edition KAWAI 1 (Jyojyo shouhin kyokusyu) 1998 黒田三郎の詩による三つの Baritone, Pf Edition KAWAI 3 歌 (Kuroda Saburo no shi niyoru mittsu no Uta) ひこうき(Hiko-ki) [Airplane] Vocal, Pf Edition KAWAI 1 ゆりいす(Yuri isu) Vocal, Pf Edition KAWAI 1 [Rocking Chair] 1997 歌を歌って(Uta wo utatte) Vocal, Pf Edition KAWAI 1 ねこぜんまい Vocal, Pf Edition KAWAI 1 (Neko zenmai) 夕顔 (Yu-gao) Vocal, Pf Edition KAWAI 1 [Moonflower] ほんとにきれい Vocal, Pf Edition KAWAI 1 (Hontoni kirei) 1996 かぜとかざぐるま Vocal, Pf Edition KAWAI 1 (Kaze to Kazaguruma) 雲の窓(Kumo no Mado) Vocal, Pf Edition KAWAI 1 うぐいす(Uguisu) Vocal, Pf Edition KAWAI 1 [Japanese bush warbler] おもいで (Omoide) Vocal, Pf Edition KAWAI 1 [Memories] 1995 愛する歌 (Aisuru Uta) [Love Vocal, Pf Ongakuno tomo sha 5 Songs] 秋の瞳(Aki no Hitomi) Vocal, Pf Edition KAWAI 8 六つの浪漫 Vocal, Pf Edition KAWAI 6 (Muttsu no Roman) [6 Romantic Pieces] 涅槃 (revised) Vocal, Pf Edition KAWAI 1 (Nehan) [Nirvana] 1994 晩夏(Banka) Vocal, Pf Ongakuno tomo sha 7 [Late Summer] かくれんぼ(Kakurenbo) Folk song Fukuonkan shoten 1 [Hide and Seek] 1986 群馬県立高崎東高等学校校 Vocal, Pf 1 歌[Gunmakenritsu Takasaki Higashi High School Song] 1978 涅槃(Nehan) [Nirvana] Soprano, Pf Edition KAWAI 1

128

Choral music accompanied by orchestra

2011 光はここに SATB, Orch Edition KAWAI 6 (Hikari wa kokoni) [The Light is Here] 邪宗門秘曲 SATB, Orch Edition KAWAI 1 (Jyashu-mon Hikyoku) 2010 たいようオルガン SATB, Orch 1 (Taiyo Organ) 2008 鴎(Kamome) [Seagull] SATB, Orch Edition KAWAI 1 ４つの舞曲(Vocalise) SST, Orch, Kyouiku Geijyutu sha 4 [Four Dances] Pf 光はここに SATB, Org Edition KAWAI 6 (Hikari wa kokoni) [The Light is Here] 2007 春に(Haru ni) [In Spring] SATB, Ongakuno tomo sha 1 Wind-Orch いま！(Ima !) [Now !] SSA, SATB, Edition KAWAI 1 Wind-Orch 原体剣舞連 SATB, Orch 1 (Gentai Kenburen) 鴎,うみ [Seagull, Sea] SATB, Org 2 2005 Christmas Carol Medley SATB, 1 (revised) Brass-ens, Org, Perc. 原体剣舞連 SATB, Orch 1 (Gentai Kenburen) 2004 BLUE SSAA, Perc. Mother Earth 3 2002 The door into summer SSA, Perc. Mother Earth 1 2001 虚無の未来へ SATB, Orch 4 (Kyomu no Mirai e) 邪宗門秘曲 SATB, Orch Edition KAWAI 1 (Jyashu-mon Hikyoku) 1999 四万十川 (Shimanto-gawa) SATB, Orch Edition KAWAI 5 [Shimanto River] 1993 春と修羅 (Haru to Syura) SATB, 2 Brass-ens

Orchestral works

2010 呼吸する大地 Orch 1 (Kokyu suru Daichi) 2008 CYBER TRIP Wind-Orch Tokyo Hassuru copy 1 2007 GOTHIC (revised) Wind-Orch Buren sha 1 2006 GOTHIC Wind-Orch, 1 Perc. 1-3 129

2006 Pulsation Wind-Orch, Hihon suiso-gaku 1 Timp. Perc. 1-3 renmei 1996 シンフォニエッタ Str-Orch Ongakuno tomo sha 3 (Sinfonietta) 1991 消えていくオブジェ Orch 1 (Kieteiku Objet) 1989 夜の淵 (Yoru no Huchi) Orch 1 Abyss of Night Sinfonia Wind-Orch YAMAHA ongaku 1 shinkokai 1986 Aura for Orchestra Orch 1 1982 Fantasy 2 Orch 1 1981 序奏とアレグロ Wind-Orch Zen nihon 1 Introduction and Allegro suisougaku renmei 1979 壺天 Orch 1 (Koten) 1978 管弦楽のための一章 Orch 1 (Kangengaku no tame no Isshou) 1977 Fantasy Orch 1

Choral music

2010 自然と愛と孤独と SSA, Pf Edition KAWAI 1 (Shizen to Ai to Kodoku to) The Ark TTB, Pf Edition KAWAI 5 2009 Blue SATB, Pf Edition KAWAI 1 ざりがに(Zarigani) SA, Pf Ongakuno tomo sha 1 [Crayfish] いのちの木を植える SATB, Pf Ongakuno tomo sha 4 (Inochi no Ki wo ueru) さびしいよる (Sabishii SA, Pf Ongakuno tomo sha 1 Yoru) [Lonely Night] お早うの朝 (Ohayo no Asa) SATB, Pf Edition KAWAI 1 雨[Rain] SSA, Pf Ongakuno tomo sha 1 あいたくて(Aitakute) SSA, Pf Ongakuno tomo sha 1 2008 光る刻(Hikaru koku) TTB, Pf Edition KAWAI 4 2007 あさっておいで SA, Pf Ongakuno tomo sha 1 (Assatte Oide) どんどんほったら SA, TB, Pf Ongakuno tomo sha 1 (Don don hottara) コップのうた SA, TB, Of Ongakuno tomo sha 1 (Koppu no Uta) にじ色の魚 SATB Editio KAWAI 1 (Niji iro no Sakana) 130

金沢市立杜の里小学校校歌 Vocal, Pf 1 (Kanazawa shiritsu Morisnosato Elementary School Song ) ある日のたび SA, Pf Ongakuno tomo sha 1 (Aruhi no Tabi) 朝の頌歌 TTBB, Pf Ongakuno tomo sha 3 (Asa no Homeuta) 曇り日なら SA, Pf Ongakuno tomo sha 1 (Kumori-bi nara) 2006 足おと(Ashi-oto) SA, Pf Ongakuno tomo sha 1 悲しみの枝に咲く夢 SA, Pf Edition KAWAI 5 (Kanashimi no Eda ni saku Yume) [A Dream Hung on the Lonely Tree] カゼクサ(Kazekusa) SA, Pf Ongakuno tomo sha 1 わたしはカメレオン TTBB Edition KAWAI 6 [I am Chameleon] 竹とんぼに SA, Pf Ongakuno tomo sha 1 (Take-tonbo ni) 花のかず SA, Pf Ongakuno tomo sha 1 (Hana no Kazu) クルミ SA, Pf Ongakuno tomo sha 1 [Walnut] 鴎[Seagull] SATB Edition KAWAI 1 きりん(Kirin) SA, Pf Ongakuno tomo sha 1 [Giraffe] 夢のなかの空 SA, Pf Ongakuno tomo sha 1 (Yume no naka no Sora) ゆりいす(Yuri-isu) SA, Pf Ongakuno tomo sha 1 [Rocking Chair] まいにち〈おはつ〉 SA, TB, Pf Hihon hoso syuppan 1 Everyday “Ohatsu” kyokai 2005 はじまり SA, Pf Ongakuno tomo sha 1 (Hajimari) 湖上(Kojyo) SATB 1 私は月にはいかないだろう SAT, Pf Kyouiku Geijyutsu 1 (Watachi wa Tsuki niwa sha ikanaidaro) [I’ll never go to the Moon] 2004 夢みたものは TTBB Edition KAWAI 1 (Yume mita mono wa) 旅の歌(Tabi no Uta) SATB, Pf 1 生きぬくいのち SATB, Pf, 1 (Ikinuku Inochi) Children’s choir 131

ネロ-愛された小さな犬に SSAA Ongakuno tomo sha 1 Nero: For a well-loved little Dog さびしいカシの木(Sabishi SSA, TTB, Pf Ongakuno tomo sha 1 Kashi no Ki) 石ころ ST, Pf Kyouiku Geijyutsu 1 (Ishikoro) sha あひるとカンガルー SA/TB, Pf Kyouiku Geijyutsu 1 [The Duck and the Kangaroo] sha ロマンチストの豚 SSA Ongakuno tomo sha 1 [Romantic Pig] おんがく SSAA Ongakuno tomo sha 1 [Music] サッカーによせて SSA Ongakuno tomo sha 1 [For Soccer] いっしょに SSA Ongakuno tomo sha 1 (Issho ni) 地平線のかなたへ TTBB, Pf Ongakuno tomo sha 5 [Beyond the Horizon]

いつかどこかで SATB, Pf Edition KAWAI 1 (Itsuka dokokade) さびしいカシの木 SSA, Pf Ongakuno tomo sha 1 (Sabishi Kashi no Ki) 2003 サッカーによせて,ロマンチ SATB Ongakuno tomo sha 3 ストの豚,さびしいカシの木いつかしら野に立つて TB 1 (Itsukashira Noni tatte) 2002 真夜中のモノローグ SATB, Pf 1 (Mayonaka no Monologue) ひとつめこぞう Children’s choir Ongakuno tomo sha 3 [The One-Eyed Goblin] なぎさの地球 SATB/SSAA/TT NHK 1 (Nagisa no Chikyu) BB, Pf 2001 幻影 SSAA, Pf Edition KAWAI 4 [The Illusion] ロマンチストの豚 TTBB Ongakuno tomo sha 1 [Romantic Pig] 2000 春二題 SSA Ongakuno tomo sha 2 [Two Spring Songs] そのひとがうたうとき SATB, Pf Kyouiku Geijyutsu 1 (Sonohitoga utau toki) sha 1999 カレハ SATB Ongakuno tomo sha 1 (Kareha) 光と風をつれて SATB, Pf Ongakuno tomo sha 5 132

(Hikari to Kaze wo tsurete) そのひとがうたうとき SAT, Pf Kyouiku Geijyutsu 1 (Sono Hito ga utau toki) sha 来てみてごらんこの街へ SA, Pf 1 (Kitemitegoran kono Machi e) 1998 ふくろうめがね TTB/SSA Ongakuno tomo sha 4 (Fukuro Megane) C.ロセッティの４つの歌 SA, Pf Edition KAWAI 4 [Four Songs by C. Rossetti] ある日くまは TTB/SSA Ongakuno tomo sha 1 (Aruhi Kuma wa) ほたるたんじょう TTB/SSA Ongakuno tomo sha 1 (Hotaru Tanjyo) あざらしなかま TTB/SSA Ongakuno tomo sha 1 (Azarashi Nakama) 1997 グリンピースのうた Children’s choir Ongakuno tomo sha 5 [A Song of Greenpeace] 月の角笛 SA, Pf Edition KAWAI 12 Lyrical Songs “The Moon’s Horn” 仏の見たる幻想の世界 Two SATBs Ongakuno tomo sha 1 [The Visionary World Buddha Saw] ELEGIA SATB Edition KAWAI 5 めばえ SATB/TTBB/SS Nihon hoso syuppan 1 (Mebae) AA kyokai 1996 うたをうたうとき SATB/SSA JCDA (Japan Choral 1 (Uta wo utautoki) Directors Association) ５つの祈り SSA Ongakuno tomo sha 5 (Itsutsu no Inori) 地平線のかなたへ SSA, Pf Ongakuno tomo sha 5 [Beyond the Horizon] 大伴家持の三つの歌 SATB, Pf Edition KAWAI 3 Three Songs of Ooban- komochi 秋のまんなかで SAT, Pf Ongakuno tomo sha 1 (Aki no mannakade) 1995 トムトムおじさんの綿菓子 SSA/TTB, Pf Kyouiku Geijyutsu 1 屋 sha (Tomutomu Ojisan no Watagashiya) 愛する歌 SA/TB, Pf Ongakuno tomo sha 10 (Aisuru Uta) 曇り日なら ST, Pf Ongakuno tomo sha 1 (Kumoribi nara) どうしていつも SATB Ongakuno tomo sha 1 133

(Doushite itsumo) うたよ！ SATB, Pf Ongakuno tomo sha 5 (Utayo !) 犬が自分のしっぽをみて歌 TB/SA, Pf Ongakuno tomo sha 1 う歌 A Song Sung by a Dog Looking at its own Tail 絵の中の季節 SSA Edition KAWAI 3 Seasons Found in Pictures 1994 恋のない日 TTBB Ongakuno tomo sha 6 (Koi no nai hi) 足おと ST Ongakuno tomo sha 1 (Ashi oto) ユレル SA/TB, Pf Ongakuno tomo sha 1 (Ureru) 海と涙と私と SA/TB, Pf Ongakuno tomo sha 1 (Umi to Nmida to Watashi to) わたしは風 SSA, Pf Edition KAWAI 4 (Watashi wa kaze) オンディーヌ SSAA, Pf Edition KAWAI 1 Ondine 1993 夢みたものは SATB, Pf Edition KAWAI 6 (Yume mita mono wa) 三つの不思議な物語 SATB, Pf Edition KAWAI 3 Three mysterious Stories 雪の街 SA/ST, Pf Ongakuno tomo sha 1 (Yuki no Machi) 1992 地平線のかなたへ SATB, Pf Ongakuno tomo sha 5 [Beyond the Horizon] ア・カペラ組曲 SSA 1 [A Capella Suite] 暁と夕の詩 SSA, Pf Edition KAWAI 4 (Akatsuki to Yu no Uta) 二十億光年の孤独 SAT, Pf Ongakuno tomo sha 1 (Nijyuokukonen no Kodoku) さびしいカシの木 ST, Pf Ongakuno tomo sha 1 (Sabishii Kashi no Ki) 春に SATB, Pf Ongakuno tomo sha 1 (Haru ni) もえる緑をこころに SAT/SSA, Pf Nihon hoso syuppan 1 (Moeru Midori wo kokoro ni) kyokai 1991 真夜中 TTBB, Pf Edition KAWAI 3 (Mayonaka) 卒業式 SAT, Pf Ongakuno tomo sha 1 (Sotsugyoshiki) 134

春の予感 SATB Edition KAWAI 1 (Haruno yokan) 1990 オンディーヌ SATB, Pf Edition KAWAI 1 Ondine あわていきもののうた SSA/TTB, Pf Edition KAWAI 5 (Awateikimono no Uta) さびしいカシの木 SA/TB, Pf Ongakuno tomo sha 1 (Sabishii Kashi no Ki) 誰かがちいさなベルをおす SA/TB, Pf Ongakuno tomo sha 1 (Darekaga chiisana Beru wo osu) きんいろの太陽がもえる朝 SA/TB, Pf Ongakuno tomo sha 1 に (Kin-iro no Taiyo ga moeru Asa ni) ひばり SA/TB, Pf Ongakuno tomo sha 1 (Hibari) ネロ-愛された小さな犬に SATB, Pf Ongakuno tomo sha 1 Nero: For a well-loved little Dog 1989 ファンタジア SSA, Pf Edition KAWAI 1 Fantasia サッカーによせて SSA, Pf Ongakuno tomo sha 1 For Soccer 春に SAT, Pf Ongakuno tomo sha 1 In Spring ロマンチストの豚 SA/TB, Pf Ongakuno tomo sha 1 Romantic Pig うみ SSA/TTB Ongakuno tomo sha 1 (Umi) 1988 サッカーによせて SAT, Pf Ongakuno tomo sha 1 For Soccer ほのかにひとつ SATB, Pf Edition KAWAI 1 (Honoka ni Hitotsu) 邪宗門秘曲 SATB, Pf Edition KAWAI 1 (Jyashumon Hikyoku) 地球の仲間 SA/TB, Pf Ongakuno tomo sha 1 (Chikyu no Nakama) サッカーによせて TTBB, Pf Ongakuno tomo sha 1 For Soccer こまどりをころしたのだ SSA, Pf Edition KAWAI 8 れ？ Who Killed Cock Robin? 1987 方舟 TTBB, Pf Edition KAWAI 4 The Ark Enfance Finie TTBB, Pf Edition KAWAI 4 135

1986 光る刻 SATB, Pf Edition KAWAI 4 (Hikaru koku) ティオの夜の旅 TTBB, Pf Edition KAWAI 5 Tio’s Night Trip 1985 こまどりをころしたのだ SATB, Pf Edition KAWAI 8 れ？ Who Killed Cock Robin? 夢のかたち SATB, Pf Edition KAWAI 5 (Yume no katachi) むらさきの SSA, Pf Edition KAWAI 1 (Murasaki no) 1984 風が風を SSA, Pf Edition KAWAI 1 (Kazega Kazewo) 1983 ティオの夜の旅 SATB, Pf Edition KAWAI 5 Tio’s Night Trip 1980 方舟 SATB, Pf Edition KAWAI 4 The Ark

Chamber Music

2010 空中庭園 4 viola da ganbas 2 (Kuchu Teien) 2008 打楽器コンチェルト Perc.solo, Ongakuno tomo 3 Percussion Concerto Perc.ens.1-4 sha 2007 夜はすべてのガラスであ Flute, Perc. 1 る (Yoru wa subeteno Garasu de aru) 2005 ふるえる月 (revised) Perc. 1-4 Nihon 1 The Trembling Moon sakkyokuka kyogikai 2004 ねじれていく風景 Cl, Vn, Pf Ongakuno tomo 3 Twisting Landscapes sha 2000 ふるえる月 Perc. 1-4 Nihon 1 The Trembling Moon sakkyokuka kyogikai 1977 アンダンテとカプリッチ Sax-quartet Ongakuno tomo 1 ョ sha Andante and Capriccio 1976 雨 Mandolin-orch 1 (Ame) [Rain] 1976 サクソフォン･ソナタ Sax, Pf 1 Saxophone Sonata

136

Piano duet

2010 迷宮のピアノ Four-hand, Pf Edition KAWAI 5 Labyrinthine Piano 2005 星の砂 Four-hand, Pf Edition KAWAI 1 (Hoshi no Suna) 2002 やわらかな雨 Four-hand, Pf Edition KAWAI 10 Gentle Rain 2002 日曜市場 Four-hand, Pf Edition KAWAI 1 Sunday Market 2001 一羽のかもめ Four-hand, Pf Edition KAWAI 1 Sea Gull 1999 Romantic Concert Four-hand, Pf Soshisha Creative 1

Opera

2005 Alice in Wonderland 5S, 2A, 3T, 3B, Bass, Ongakuno tomo sha (revised) Mixed-choir, Orch 2003 Alice in Wonderland 5S, 2A, 3T, 3B, Bass, Ongakuno tomo sha Mixed-choir, Orch

137

APPENDIX B Piano Solo Works with Difficulty Level

2007 A Circuit of Dreams, I, II (revised) Edition KAWAI I Difficult II Difficult 2007 E q. quagga Edition KAWAI Intermediate 2006 Moa Edition KAWAI Intermediate 2004 The Lion with the GI haircut (republished) Edition KAWAI Easy 2003 Uto Uto [Dozing] Edition KAWAI Easy 2001 9 Preludes Ongakuno tomo Prelude 1 sha Late intermediate Prelude 2 Medium difficult Prelude 3 Difficult Prelude 4 Late intermediate Prelude 5 Difficult Prelude 6 Medium difficult Prelude 7 Difficult Prelude 8 Difficult Prelude 9 Difficult 2000 Waku Waku [Exciting] Edition KAWAI Easy 1995 A Memorable Lemon Pie Edition KAWAI Easy 1994 Soft Bavarian Cream Edition KAWAI Easy 1993 Alice in Wonderland Edition KAWAI 1. Alice in the Golden Afternoon Easy 2. Down the Rabbit-Hole Intermediate 3. Pool of Tears Intermediate 4. The Dodo and a Strange Race Late intermediate 5. Advice from a Caterpillar Late intermediate 6. Cheshire Cat Intermediate 7. A Mad Tea-Party Never Ends Medium Difficult 8. The Queen’s Croquet-Ground Medium Difficult 9. The Trial in a Muddle Medium Difficult 10. After the Dream Intermediate 1991 Children’s Song of Africa Edition KAWAI Easy 1990 Song Sung by a Dog Looking at its own Tail Edition KAWAI Easy 1991 Mother Goose Edition KAWAI 1. Three Blind Mice Easy 2. Mrs. Bond Easy 3. Old King Cole Intermediate 4. The Cuckoo Easy 5. Pussy Cat Easy 6. On Christmas Day Intermediate 138

7. Jack and Jill Easy 8. Goosey, Goosey Gander Intermediate 9. Rock-a-bye, Baby Intermediate 10. Humpty Dumpty Intermediate 11. Saint Paul’s Steeple Intermediate 12. Hey Diddle Diddle Intermediate 13. Who killed Cock Robin? Intermediate 14. London Bridge Late Intermediate 15. Twinkle, Twinkle Little Star Early Advanced 1989 The Lion with the GI haircut Edition KAWAI Easy 1988 Hop, hop Edition KAWAI Easy 1986 Circuit of Dreams, I, II, III The Japan Difficult Federation of Composers 1979 Fantasy Unpublished Difficult

139

APPENDIX C

Recording Contents of Accompanying CDs

CD 1 9 Preludes Tracks 1 Prelude 1 (2:12) 2 Prelude 2 (2:18) 3 Prelude 3 (1:42) 4 Prelude 4 (2:16) 5 Prelude 5 (2:09) 6 Prelude 6 (2:47) 7 Prelude 7 (3:15) 8 Prelude 8 (4:13) 9 Prelude 9 (3:10)

A Circuit of Dreams 10 I (6:26) 11 II (5:04)

CD 2 Alice in Wonderland Tracks 1 Alice in the Golden Afternoon (1:17) 2 Down the Rabbit-Hole (1:01) 3 Pool of Tears (2:38) 4 The Dodo and a Strange Race (2:34) 5 Advice from a Caterpillar (3:10) 6 Cheshire Cat (1:50) 7 A Mad Tea-Party Never Ends (2:41) 8 The Queen’s Croquet-Ground (3:45) 9 The Trial in a Muddle (4:55) 10 After the Dream (2:16)

10 pieces for Children 11 Hop, hop (0:41) 12 The Lion with the GI haircut (1:00) 13 Song Sung by a Dog Looking at its own Tail (0:44) 14 Children’s Song in Africa (0:36) 15 Soft Bavarian Cream (1:20) 140

16 A Memorable Lemon Pie (1:10) 17 Waku Waku [Exciting] (0:41) 18 Uto Uto [Dozing] (1:01) 19 Moa (2:04) 20 E.q.quagga (1:55)

Mother Goose 21 Three Blind Mice (0:26) 22 Mrs. Bond (0:34) 23 Old King Cole (1:01) 24 The Cuckoo (1:01) 25 Pussy Cat (0:30) 26 On Christmas Day (1:05) 27 Jack and Jill (0:21) 28 Goosey, Goosey Gander (0:33) 29 Rock-a-bye, Baby (1:04) 30 Humpty Dumpty (0:30) 31 Saint Paul’s Steeple (1:08) 32 Hey Diddle Diddle (0:33) 33 Who killed Cock Robin? (1:49) 34 London Bridge (1:27) 35 Twinkle, Twinkle Little Star (1:34)

141

Bibliography

Musical Sources:

Kinoshita, Makiko. A Circuit of Dreams. Tokyo: The Japan Federation of Composers, 1986.

———. “Hop, hop.” In Carnival: Piano Solo Album for Recitals. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1997.

———. “The Lion with the GI haircut.” In The Collection of Piano Pieces by Composers for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1989.

———. “Song Sung by a Dog Looking at its own Tail.” In The Collection of Piano Pieces by 44 Composers for Children: Animal Chapter 1. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1990.

———. Mother Goose. Tokyo: KAWAI, 1991.

———. “Children’s Song of Africa.” In The Collection of Piano Pieces by 49 Composers for Children: 49 Composers Travel Around the World 1. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1991.

———. Alice in Wonderland. Tokyo: KAWAI, 1993.

———. “A Memorable Lemon Pie.” In The Collection of Piano Pieces by Composer for Children:Dessert 1. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1996.

———. “Soft Bavarian Cream.” In The Collection of Piano Pieces by 42 Composers for Children: The Piano Restaurant 2. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1994-5.

———. “Waku Waku.” In The Collection of Piano Pieces by Composers for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 2000.

———. 9 Preludes. Tokyo: Ongakuno-Tomo-Sha, 2001.

———. “Uto Uto.” In The Collection of Piano Pieces by Composers for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 2003.

———. “Moa.” In vol. 2 of The Collection of Piano Pieces by Composers for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 2006.

142

———. “E.q.quagga.” In vol. 2 of The Collection of Piano Pieces by Composers for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 2007.

———. A Circuit of Dreams. 2nd ed. Tokyo: KAWAI, 2007.

———. Twisting Landscapes. Tokyo: Ongakuno-Tomo-Sha, 2004.

Recordings:

Alice in Wonderland. Victor Entertainment VICS-61218. CD. 1999.

The Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007.

Articles:

Ferranti, Hugh de. “'Japanese Music' Can be Popular,” Popular Music 21, No. 2 (May, 2002): 195-208.

Books:

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.

Carroll, Lewis. Alice in Wonderland, 2nd ed. New York: W.W. Norton & Co., c1992.

Hinson, Maurice. Guide to the Pianist’s Repertoire. Bloomington, IN: Indiana University Press, 2000.

Kubota, Keichi. はじめての音楽史ー古代ギリシアの音楽から日本の現代音楽まで. [Music history – from ancient Greek to modern music in Japan] Tokyo: Ongakuno-Tomo-Sha, 1998.

Jarrett, Sandra. Edvard Grieg and His Songs. Burlington, VT: Ashgate, c2003.

Kinoshita, Makiko. Yoku wakaru gakuten [Easily understandable music theory]. Tokyo: Natsume-Sha, 2008.

Nissman, Barbara. Bartók and the Piano: A Performer’s View. Lanham, MD: Scarecrow Press, 2002.

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Yanase, Takashi. Aisuru Uta [Love songs]. Tokyo: Sanrio-sha, 1977.

Reviews:

Houser, Virginia. Review of Bartók and the Piano: A Performer’s View, by Barbara Nissman. American Music Teacher 52, no. 6 (June/July 2003): 96

Orlofsky, Diane D. review of Edvard Grieg and His Songs, by Sandra Jarrett. Music Educators Journal 91, no. 1 (September 2004): 64

Witten, David. Review of Bartók and the Piano: A Performer’s View, by Barbara Nissman. Notes 60, no. 2 (December 2003): 452.

Websites:

Kinoshita, Makiko. “Music Composer, Kinoshita, Makiko: Official Web Site.” http://m-kinoshita.com/english.html (accessed April 9, 2010).

Sudo, Eiko. “Interview 11: Professor Makiko Kinoshita; Piano Pieces Made In Japan.” Piano Teachers National Association. http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed April 9, 2010).

Taniguchi, Eriko. “Special Interview: Talk by Mr. Takashi Obara and Ms. Makiko Kinoshita.” Piano Teachers National Association. http://www.piano.or.jp/report/news/2010/08/13_11190.html (accessed January 4, 2011).