GUITAR MUSIC BY JAPANESE COMPOSERS BY DANIEL QUINN Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2003 ii Preface The classical guitar is rarely thought of as a Japanese instrument. Yet, the instrument has had an active life in Japan since Emperor Meiji opened his country to the West over a hundred years ago. The guitar and Western music in Japan had a slow start thwarted by the exclusion from the academic environment of universities. Since World War II, however, there has been an enormous growth in the number of guitar performers, societies and clubs, teachers, competitions, makers, and music publishers. Until I made my first trip to Japan in 1997 I was only aware of the guitar works by Takemitsu and the famous Sakura variations. During this trip I became aware of the enormous amount of guitar music by many excellent composers in Japan. In the fall of 1998 I returned to Japan for three months to do a more thorough research and uncover as many guitar works as I could find. I returned with several hundred works that I had never heard of and a new interest in bringing these works to light in the U.S. This document will discuss the introduction and reintroduction of the guitar into Japan. It will include a discussion of the development of music composed for the guitar from the Meiji restoration through the pre-war era, then from the post-war period up to the present day. I will discuss the music in a general way with a focus on key works that define the period and the most salient features of these works. The Appendix at the end of this document lists over seven hundred works by Japanese composers that use guitar. While collecting these works I realized that there was a need to organize all of them into a historical account of the publishers and composers that were responsible for this music. This list focuses iii on works written for the nylon string acoustic instrument in staff notation, although several works for electric guitar are also listed in the appendix. Song arrangements are not included nor are transcriptions or arrangements from other instruments since I want to focus on works written specifically for the guitar. iv Acknowledgements There are so many people to thank for their help with my research. Most important are my wife Kei, and daughters Rita and Sara who put up with all the time it took for me to write this. My mother –in-law Hiroko Matsui, who housed us and made sure I could travel around Japan to find music. In Japan I have to thank Keigo Fujii who told us about the Nakano collection in Kyoto and introduced me to Jun Sugawara at Gendai Guitar, without these connections this research would have never happened. Sugawara donated many scores and has shown me their entire collection of old Gendai Magazines. Robert Coldwell whose research on the guitar in Japan gave me a background to make my research possible. Thanks to Kimiko Shimbo at the Japan Federation of Composers for putting me in contact with many of the composers in my research. The president of Casa de la Guitarra Takehiko Aoyagui, donated all of that company’s publications of Japanese works to the Indiana University music library at my request. Norio Sato who was tremendously kind and invited me to look at many of his own scores at his home. At Indiana I want to thank my committee Susan McDonald, Carmen Tellez, and Ernesto Bitetti, and especially Jeff Magee, who had to read the really bad rough drafts of this. Thanks to Tsuyoshi and Harue Tsutsumi for finding some of the catalogues that I could not. The two people who kept me in odd jobs while I worked my way through college Larry Stoute, and Steve Rolfe. Special thanks to my brothers, sisters, and parents, who remained at my side through all the challenges of college life. v Table of Contents Preface …………………………………………………………………………………...ii Acknowledgements…………………………………………………………………....iv Table of Contents……………………………………………………………………...vi Examples and Figures………………………………………………………………...vii 1. The Early Period of the Guitar in Japan (1543-1640): Evidence of the Lute and Vihuela………………………………………………...1 Nanban Art…………………………………………………………………………..5 Printed music in Japan……………………………………………………………...8 Musical differences……………………………………………………………….…9 Embassy to Rome…………………………………………………………………..10 End of the Early Christian Period………………………………………………...12 2. The Return of the guitar in Meiji Japan (1868-1912)………………………….15 Western Music Education and Early Compositional Styles…………………...19 The Return of the Classical Guitar………………………………………………..26 Morishige Takei (1890-1949)………………………………………………………29 Yoshie Okawara (1903 -1935)……………………………………………………..35 Takayuki Oguri (1909-1944) ……………………………………………………...38 3. Post war Music 1945 through the 1950’s ……………………………………….45 4. 1960 through 1980 ………………………………………………………………….55 Casa de la Guitarra Publications …………………………………………….…...55 Zen-on……………………………………………………………………………….79 Toru Takemitsu (1930-1996) ……………………………………………………...91 5. 1980’s to 2000 - the Present State of Guitar Music in Japan………………...104 The Japan Federation of Composers……………………………………………104 Gendai Guitar……………………………………………………………………..115 Summary………………………………………………………………………………121 Appendix: Guitar Works by Japanese Composers………………………………124 Bibliography………………………………………………………………………….157 vi Musical Examples 2.1 Morishige Takei, The Floating Cloud, mm 1-4……………………………………32 2.2 Morishige Takei, Le Crab Ermite, mm 1-12……………………………………….32 2.3 Yoshie Okawara, Matsumushi-Flower, mm 1-5...………………………………...36 2.4 Yoshie Okawara, Matsumushi-Flower, mm 19-31………………………………..36 2.5 Yoshie Okawara, Dance of Oriental Popy, mm 24-29…………………………….37 2.6 Yoshie Okawara, Bolero Amaryllis, mm 1-8……………………………………...37 2.7 Takayuki Oguri, Doraji-Taryung, mm 1-16………………………………………39 2.8 Takayuki Oguri, Doraji-Taryung, mm 21-29……………………………………..40 2.9 Takayuki Oguri, Doraji-Taryung, mm 56-57……………………………………..40 2.10 Takayuki Oguri, Spinning Song, mm 10-13……………………………………..41 2.11 Takayuki Oguri, Preludio para Guitarra sobre una Japanese Anticuada, mm 1-6…………………………………………………………………………………..42 2.12 Seiichi Suzuki, Sakura Variations, mm 11-18…..……………………………….43 3.1 Kojiro Kobune, Essey, mm 1-12 …………………………………………………..47 3.2 Takeo Saito, Poème, mm 1-8……………………………………………………….47 3.3 Yoritsune Matsudaira, Katsura, VII, Ama no hashidate, 1-6……………………..50 3.4 Toshiro Mayuzumi, Microcosmos, I, mm 1-13…………………………………...52 3.5 Toshiro Mayuzumi, Microcosmos, V, mm………………………………………..53 4.1 Hikaru Hayashi, Etude for Two Guitars, mm 1-15……………………………….57 4.2 Tsuyoshi Otai, Sho, mm 1-6……………………………………………………….59 4.3 Takeo Noro, Composition II, lines 1-3……………………………………………..61 4.4 Takeo Noro, Impromptu pour 2 Violins et Guitare, lines 1-2……………………..63 4.5 Kenjiro Ezaki, Music for Guitar and Electronic Sound, mm 1-5 ...……………….66 4.6 Kenjiro Ezaki, Contension for Female Voice and Guitar, page 5 ...……………….68 4.7 Kenjiro Ezaki, Nodule, mm 1-4 ...…………………………………………………69 4.8 Maki Ishii, Fünf Elemente für gitarre und sechs spieler, page 3-4 …………….70-71 4.9 Mao Yamagishi, Ki and Two Ritsu, page 3 lines 3-5……………………………..72 4.10 Ryo Noda, Nagare, page 1 lines 1-3, page 3……………………………………73 4.11 Kazuko Hara, Preludio, Aria et Toccata, Preludio mm 1-15…………………….75 4.12 Kazuko Hara, Preludio, Aria et Toccata, Aria, mm 1-9………………………….76 4.13 Teruyuki Noda, Intermezzo, mm 1-7, and mm 99-106…………………………77 4.14 Teiho Matsumoto, Nocturn, mm 1-4…………………………………………….78 vii 4.15 Akira Ifukube, Kugoka, Aria concertata di Kugo-Arpa, mm 1-5………………...82 4.16 Akira Ifukube, Kugoka, Aria concertata di Kugo-Arpa, mm 15-22……………...83 4.17 Yasuhiko Tsukamoto, Epithalamium, mm 1-8, mm 39-48, and mm 78-90 ………………………………………………………………………………………..85-86 4.18 Akira Miyoshi, Epitase, page 1 lines 1-3, and page 3 line……………………..88 4.19 Akira Miyoshi, Epitase, page 3 line 7……………………………………………89 4.20 Yuji Takahashi, Metatheses 2, mm 1-4, and mm 68-70…………………………91 4.21 Toru Takemitsu, Ring, section O, t-guitar circle ………………………………93 4.22 Toru Takemitsu, Ring, section G, mm 12-17 ……………………………….….94 4.23 Toru Takemitsu, Valeria, page 4 first system…………………………………..95 4.24 Toru Takemitsu, Valeria, page 1 first system…………………………………..96 4.25 J.S. Bach, St. Matthew Passion, O haupt voll blut und Wunden, page 214 mm 1-4 ………………………………………………………………………………….97 4.26 Toru Takemitsu, Folios, third movement, mm 25-28………………………….97 4.27 Toru Takemitsu, Folios, first movement, lines 1-2……………………………..98 4.28 Toru Takemitsu, Toward the Sea, third movement, page 14, line 4…………..99 4.29 Toru Takemitsu, Toward the Sea, second movement, page 7, lines 1-2……..100 4.30 Toru Takemitsu, All in Twilight, first movement, mm 1-12………………...101 4.31 Toru Takemitsu, All in Twilight, second movement, mm 1-13…………….102 5.1 Mieko Shiomi, As it were Floating Granuels, no. 6 c-group, measures 1-5…...105 5.2 Yoko Kurimoto, June end Songs, michiyuki measures 30 –39……………….…107 5.3 Masao Homma, For Guitar, page 1 lines 1-3, page 4 lines 3 –4, and page 8 lines 3 –5………………………………………………………………………………...109-110 5.4 Tohru Aki, Noon City Suite, first movement mm 1-10………………………...113 5.5 Tohru Aki, Noon City Suite, second movement mm 1-3……………………....114 5.6 Tohru Aki, Noon City Suite, third movement mm 1-7………………………...114 5.7 Takashi Yoshimatus, Wind Color Vector, mm 1-6 ……………………………..117 5.8 Takashi Yoshimatsu, Water Color Scalor, mm 1-6 ………………………….….118 5.9 Hirokazu Sato, Sonatine no. 2, first movement mm 1- 7………………………119 5.10 Hirokazu Sato, Sonatine no. 2, second movement mm 9-20…………………120 viii Figures 1 Nobukata, Woman Playing Guitar, painting, c1590…………………………………7