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An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru

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An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. An appendix containing a list of hundreds of accompanied and unaccompanied Japanese flute works promotes further diversification of the standard flute repertoire. ii Dedication To everyone who has inspired me and encouraged me to pursue my musical endeavors. iii Acknowledgments I would like to extend my utmost appreciation and respect for each of the following members of my D.M.A. document committee: Dr. Arved Ashby, Dr. Caroline Hartig, and Professor Karen Pierson. Thank you for dedicating so much of your time and for serving as vast sources of inspiration to me throughout the course of my degree. Next, I must express my gratitude to my advisor and flute professor, Katherine Borst Jones, who is exceptional in every way. Thank you for believing in me, pushing me beyond my capabilities, and teaching me so much about music and life in general. Working with you the past three years has impacted me profoundly. Thank you to my dear friend and fellow flutist, Sunao Masunaga, for her assistance in translating Japanese text that proved to be essential in discovering more information about the composers and works in this document. To Melanie Mathew, Carol Hester, Lorie Scott, Bethany Padgett, and Kimberly Risinger: thank you for providing me with such a strong foundation on the flute. I would not be the musician or person I am today without your patience, kindness, and expertise. Finally, thank you to my friends, family, and colleagues for always supporting me and encouraging my musical creativity. iv Vita 2010................................................................................................... Yorkville High School Yorkville, Illinois 2014....................................................................................... B.A. in Music, Luther College Decorah, Iowa 2016................................................... M.M. in Flute Performance, Illinois State University Normal, Illinois 2016-2017 ............................................... Fellowship Recipient, The Ohio State University Columbus, Ohio 2017-present ............................... Graduate Teaching Associate, The Ohio State University Columbus, Ohio Fields of Study Major Field: Music v Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgments.............................................................................................................. iv Vita ...................................................................................................................................... v List of Figures .................................................................................................................. viii Chapter 1: Introduction ....................................................................................................... 1 Purpose of Study ............................................................................................................. 3 Review of Literature ....................................................................................................... 4 Chapter 2: Brief History of the Flute in Japan .................................................................... 7 The Flute in Traditional Japanese Music ........................................................................ 7 Influences of Western Music in Japan .......................................................................... 10 Overview of Twentieth-Century Japanese Compositions for Flute .............................. 14 Chapter 3: Ikuma Dan (1924-2001) .................................................................................. 17 Biographical Information .............................................................................................. 17 Discussion of Select Flute Compositions ..................................................................... 20 Analysis of Sonata for Flute and Piano (1986) ............................................................. 22 I. Allegro ma non troppo ........................................................................................... 23 II. Thema with Variations and Rondino, Andante cantabile .................................... 28 Chapter 4: Hikaru Hayashi (1931-2012)........................................................................... 39 Biographical Information .............................................................................................. 39 Discussion of Select Flute Compositions ..................................................................... 42 Analysis of Sonata for Flute and Piano “Hana no Uta” (1967/68) ............................... 46 I. ................................................................................................................................ 47 II. Andante ................................................................................................................ 52 III............................................................................................................................... 56 vi Chapter 5: Akira Tamba (b. 1932) .................................................................................... 62 Biographical Information .............................................................................................. 62 Discussion of Select Flute Compositions ..................................................................... 64 Analysis of Sonata for Flute and Piano (1957) ............................................................. 65 I. Moderato con moto ................................................................................................ 65 II. Molto Allegro ....................................................................................................... 67 III. Lento misterioso.................................................................................................. 69 IV. Allegro vivo ........................................................................................................ 71 Chapter 6: Conclusions ..................................................................................................... 76 Suggestions for Further Research ................................................................................. 77 Bibliography ..................................................................................................................... 79 Appendix A: List of Flute Works by Dan, Hayashi, and Tamba ...................................... 82 Appendix B: Discography of Flute Works by Dan, Hayashi, and Tamba ........................ 86 Appendix C: Bibliography of Flute Works by Japanese Composers ............................... 95 vii List of Figures Figure 1: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, First Theme .......................... 24 Figure 2: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, Second Theme ...................... 25 Figure 3: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, Whole-Tone Descent ............ 27 Figure 4: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, First Theme .......................... 30 Figure 5: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, Whole-Tone Material ........... 34 Figure 6: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, Rondino Theme .................... 36 Figure 7: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 1, Opening ......................... 48 Figure 8: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 1, Pentatonic Scales .......... 50 Figure 9: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 2, Opening
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