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Japanese Musical Modanizumu: Interwar YÅ“Gaku Composers and Modernism

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Japanese Musical Modanizumu: Interwar YÅ“Gaku Composers and Modernism Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Japanese Musical Modanizumu: Interwar Y#gaku Composers and Modernism Kathryn Etheridge Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JAPANESE MUSICAL MODANIZUMU: INTERWAR YGAKU COMPOSERS AND MODERNISM By KATHRYN ETHERIDGE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Kathryn Etheridge defended this dissertation on April 29, 2014. The members of the supervisory committee were: Denise Von Glahn Professor Directing Dissertation Lauren S. Weingarden University Representative Douglass Seaton Committee Member Charles E. Brewer Committee Member Jimmy Yu Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii This is dedicated to my husband, Seth. He knows why. iii ACKNOWLEDGMENTS Many teachers, mentors, colleagues, organizations and friends helped to make this project successful. Foremost among them is The Presser Foundation, which provided me with the means—through a generous Graduate Music Award—to travel to Tokyo to conduct archival research. I am also indebted to the Florida State University College of Music faculty for awarding me a Curtis Mayes Orpheus Grant, which allowed me to purchase many of the Japanese sources that I utilized in the creation of this dissertation. My dissertation would not have been possible without the extensive assistance of Morimoto Mieko and the entire staff at the Nihon Kindai Ongakukan at Meiji Gakuin University in Tokyo. With their help, I was able to locate and acquire copies of so many valuable sources on modern Japanese composers; I did not know that most of these sources even existed before I began my research at the Nihon Kindai Ongakukan. I owe a special thanks to Morimoto-sama for her patience with me (especially given my poor grasp of the Japanese language) and for her willingness to help me get in touch with the copyright owners for Yamada’s and Sugahara’s compositions. Everyone with whom I interacted at the Nihon Kindai Ongakukan was extremely helpful and kind to me; I have never had such a lovely experience at an archive as I did there. Equally helpful was the staff at both the Kunitachi College of Music Library and at the National Diet Library in Tokyo. In particular, I want to thank Dr. Cathy L. Cox, who helped me register at the Kunitachi College of Music Library and who provided me with many useful leads concerning Japanese sources. While I often utilized intermediaries to contact the estates of Japanese composers, I was overwhelmed by the assistance that I received in obtaining copies of scores and manuscripts from the copyright holders of Sugahara Meir’s and Yamada Ksaku’s music. The materials that I received from them will fuel my scholarship on Sugahara Meir and Yamada Ksaku for many years to come, and I cannot thank the copyright holders enough for the opportunity. I also want to thank Ms. Reiko Yamagishi from JASRAC (Japanese Society for Rights of Authors, Composers and Publishers) for her assistance with Japanese copyright of music publications. I owe special thanks to Dr. David Pacun from Ithaca College for answering so many of my questions early on in the dissertation process, and for providing me with sources and contacts in Japan. Dr. Pacun’s research on Yamada Ksaku gives me hope that Japanese composers of the early twentieth century will receive increasing coverage in Western publications in the future. iv Gratitude is also due to my wonderful translation-checkers, Yasuko Harada in Tokyo and Mayumi Shirai in Tallahassee, who spent countless hours checking my translations and providing me with invaluable information about the Japanese language. I must also thank my Japanese teachers at FSU, including Soichiro Motohashi, Brian Jun Thompson, and Kentaro Tabata, who provided me with the initial tools for understanding Japanese and who thus made so much of this project feasible. And although I did not get to work with her for long, I want to thank Dr. Laura Lee, the Director of the Japanese Program at FSU, for loaning me a copy of Kinugasa Teinosuke’s 1926 film, Kurutta Ippēji (1926). It was through watching this film that so much of my interest in Japanese modernism blossomed. Since I began this project I have received much-needed assistance from many family members and friends, including Jennifer Talley, Sarah Kahre, Joel Dobson, and especially my mother, Juanita Etheridge. I have my family and friends to thank for keeping me sane when the going got rough. The past four years have been a wonderful adventure of academic discovery for me, and I could not have asked for a more considerate doctoral committee to help me through this process. Many thanks go to Dr. Douglass Seaton, Dr. Charles Brewer, Dr. Lauren Weingarden, and Dr. Jimmy Yu for their feedback and guidance. I also want to thank Dr. Frank Gunderson, Coordinator of the FSU Musicology Department, for encouraging me early on to write a dissertation on a Japanese topic. Finally, I must thank my Major Professor, Dr. Denise Von Glahn, for being the most amazing mentor and friend that I could ever hope to have in this profession. Dr. Von Glahn gave me the courage to see this project through to its completion and she fueled my enthusiasm and fortified my confidence through hours of discussion and numerous email correspondences. She was patient through all of my many “show and tell” sessions; she listened to all of my disheartened rants and exhilarated raves; and she could always provide me with the right push at the right time. Dr. Von Glahn, it has truly been a pleasure to work with you. v TABLE OF CONTENTS List of Music Examples ................................................................................................................ vii List of Figures .............................................................................................................................. viii Note on the Text ............................................................................................................................ ix Abstract ............................................................................................................................................x 1. INTRODUCTION .......................................................................................................................1 2. HISTORICAL CONTEXT FOR JAPANESE MUSICAL MODERNISM ..............................51 3. YAMADA KSAKU: MUSICAL AMBASSADOR, MODERNIST CULTIVATOR .........100 4. SUGAHARA MEIR AND JAPANESE NEOCLASSICISM ..............................................130 5. THE MODERN GIRL AS ARTIST AND ACTIVIST: YOSHIDA TAKAKO .....................173 CONCLUSION ............................................................................................................................197 APPENDICES .............................................................................................................................205 A. PERMISSION TO REPRODUCE PHOTOGRAPH OF YOSHIDA TAKAKO ................205 B. PERMISSION TO REPRODUCE MUSIC BY SUGAHARA MEIR ..............................207 C. SUGAHARA MEIR, NAINEN KIKAN EXCERPTS (ORIGINALS) ..............................209 REFERENCES ............................................................................................................................219 BIOGRAPHICAL SKETCH .......................................................................................................231 vi LIST OF MUSIC EXAMPLES 3.1. C-miyakobushi scale (top) and C-miyakobushi treated as F natural minor scale (bottom). ........................................................................................121 3.2. Yonanuki scales in C major and C minor. ......................................................................122 4.1. Nainen kikan, piano and guitar, mm. 1-2. .......................................................................148 4.2. Nainen kikan, mandolin I, mm. 15-16. ...........................................................................148 4.3. Nainen kikan, bass clarinet, mm. 37-38. .........................................................................149 4.4. Nainen kikan, flute, mm. 47-49. .....................................................................................149 4.5. Nainen kikan, mandolin and double bass, mm. 71-75. ...................................................150 4.6. Nainen kikan, mandolin I and II mm. 80-81 in original score (top) and transcription (bottom). ..........................................................................................................................150 4.7. Nainen kikan, trombone, mm. 105-09. ...........................................................................151 4.8. Nainen kikan, mm. 112-15. .............................................................................................152 4.9. Nainen kikan, mm. 148-51. .............................................................................................153 4.10. Nainen kikan, mm.163-65. ..............................................................................................154 4.11. Fuefuki me, systems 1-2. .................................................................................................164
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