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Western Influence on Japanese Art Song (Kakyoku) in the Meiji Era Japan

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Western Influence on Japanese Art Song (Kakyoku) in the Meiji Era Japan WESTERN INFLUENCE ON JAPANESE ART SONG (KAKYOKU) IN THE MEIJI ERA JAPAN JOANNE COLE Master of Music Performance (by Research) Faculty of the Victorian College of the Arts and Music The University of Melbourne December 2013 Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance (by Research) Produced on Archival Quality Paper Abstract The focus of this dissertation is the investigation of the earliest Western influences on Kōjō no Tsuki (Moon over the Castle) the composition of Japanese composer Rentaro Taki. Kōjō no Tsuki is an example of an early Japanese Art Song known as Kakyoku composed during Meiji Era Japan (1868 - 1912). The dissertation is divided into four chapters with an introduction. Chapter One explores the historical background of the Meiji Era Japan, highlighting the major impact of the signing of the treaty between the United States of America and Japan in 1853. This treaty effectively opened Japan to the West, not only for trade, but for exchange of social, political and cultural ideas. The resulting evolution that occurred in Japan from feudal society to one of early twentieth century is illustrated by reference to articles and writings of the Meiji Era. The second chapter examines the Japanese Art Song form Kakyoku using the example of Rentarō Taki’s song, Kōjō no Tsuki. This chapter presents an argument to illustrate, from an anthropological viewpoint, why this new form of Japanese Art Song could have its own identity based on Western ideas and not be categorised as a Japanese Folk Song known as Minʹyō or Shin Minyō. Chapter Three outlines the impact of the personal history of the composers, Rentarō Taki and Yamada Kōsaku on the Song Kōjō no Tsuki. Included in this investigation is an examination of similarities in the two Japanese composers’ upbringing and their studies of Western music, highlighting Western influences that may have affected their composing styles. On the basis of this research it can be concluded that two of the three main Western influences of the Meiji Era Japan: School and Military, were present to a degree in the early lives of both composers. These influences, coupled with their study in Europe, consequently influenced this early Art Song composition Kōjō no Tsuki. Chapter Four assesses the song from an analytical perspective. A detailed analysis of Rentarō Taki’s song is compared with the arrangement of the same song by Yamada Kōsaku, a prolific composer of Japanese Art Song during and following Meiji Era Japan. The specific study and analysis of this chapter demonstrates how Rentarō Taki’s Song Kōjō no Tsuki set a precedent for future Western style Japanese Art Song compositions in post Meiji Era Japan. i Certification This is to certify that: the thesis comprises only my original work towards the Master of Music Performance (by Research) degree; due acknowledgement has been made in the text to all other material used; and the thesis is 10,908 words in length, inclusive of footnotes, but exclusive of tables, glossary, bibliography and appendices. …………………………………………………… Joanne Cole / / 2013 ii Acknowledgments A project of this dimension required the insight, inspiration, and untiring commitment of many people whose ongoing belief in my abilities were shining lights along the way. I would like to thank my professors, lecturers and teachers in the Faculty of the Victorian College of the Arts and the Melbourne Conservatorium of Music of the University of Melbourne, Dr. Barry Bignell, Dr. Donna Coleman, Mr. John McCaughey, Mr. Michael Christoforidis, Dr. Kevin March and Ms. Joan Pollock for their inspiring Master of Music Performance (by Research) seminars that provided the background against which the deeper research for this project found context and support. Dr. Coleman and Ms. Pollock deserve special mention for the many hours of guidance they provided “above and beyond the call of duty” to help me shape my initial ideas into the form in which they are presented in this thesis. Their faith in my work, words of wisdom and knowledge inspired me to continue with my research and instilled in me the confidence to explore unimagined intellectual and artistic regions. Much appreciation goes to my singing teachers Ms. Anna Connelly and Mr. Raymond Connell who were core of the performance-research aspect of the course and important mentors during my study. Thanks are also due to Professor Alison MacQueen Tokita of Monash University who fostered the idea of this particular topic. Many thanks to a multitude of friends particularly Anna, Giselle, Kath, Catherine, Tanya, Val C, Val M, Diana, Anne, Bruce, Bill and Cip whose constant support, prayers and love kept me on the path to the completion of this project. Larissa, Ruth and Drucilla for their help in proof reading and layout of this thesis; Helen for her help with Sibelius; Peter, Sally Anne, Phillipa and Carolyn for their help with the performance recitals all warrant special mention. David McNicol, friend, colleague and accompanist of many years also receives my endless gratitude for the initial encouragement to pursue postgraduate study. I would like to thank Mr. Yoshi Omata, friend and music lover who introduced me to these beautiful Art Songs, helped me understand his culture, gave me constant motivation and hunger for this topic and occasionally translated from Japanese to English. My thanks also to Ms. Sayuri Ikeda for her assistance regarding information on the original sheet music for the song Kōjō no iii Tsuki. Mr. Yasufumi Kotake Deputy Consul General, Melbourne, Ms. Noriyo Shoji of the Japanese Consulate Melbourne, Ms. Miyoko Kimura Editor, and Ms. Nobumi Kato of Nichigo Press, Victoria for their support and encouragement and for their attendance at my final Masters Performance Recital warrant special mention and appreciation. Deep gratitude to my husband Hennie, my rock, whose unending patience, love, support and encouragement consistently enables me to aim for the highest and to always “Mount up with Wings as Eagles.” For permission to use the musical excerpts in this dissertation, I am grateful to: Ms. Greta Lindquist, Subsidiary Rights Assistant, University of California Press Berkeley, CA; Kiyomi Hayashi and Komei Takanashi, Editorial Division, Shunjusha Publishing Co, Tokyo; Copyright Administration, ZEN-ON Music Company Ltd, Tokyo. This project is dedicated to my late grandfather, Reginald Charles Cole, who possessed a beautiful mind and who introduced me to literature and the arts at a very young age. iv Table of Contents Abstract ................................................................................................................................................. i Certification .......................................................................................................................................... ii Acknowledgments ............................................................................................................................... iii Table of Contents ................................................................................................................................. v Glossary.............................................................................................................................................. vii INTRODUCTION......................................................................................................................... 1 Need for the Research .......................................................................................................................... 1 Musical Background ............................................................................................................................ 3 Early Western Influence on Japanese Song ......................................................................................... 3 CHAPTER ONE ........................................................................................................................... 6 HISTORICAL BACKGROUND ............................................................................................................... 6 East Meets West: A Change in the Wind ............................................................................................. 6 Growth in Japan Prior to Meiji Era ...................................................................................................... 7 Differences between the two Musical Cultures .................................................................................... 9 CHAPTER TWO ........................................................................................................................ 11 THE BATTLE OF SONGS: FOLK VERSUS ART SONG IN MEIJI JAPAN .................................. 11 Japanese Song before Meiji Era Japan ............................................................................................... 11 Western Folk Song and Japanese Minʹyō ........................................................................................... 11 Kōjō no Tsuki: Folk or Art Song? ...................................................................................................... 13 The marriage of Music and Lyrics in Art Song.................................................................................. 14 Minʹyō, Shin Minʹyō, Shoka or Art Song? .......................................................................................... 15 Short History of the European Art Song ...........................................................................................
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