Abstract: This thesis serves as an analysis of Toru Takemitsus Equinox. This piece is one of a group of compositions for solo classical guitar that was written by a composer who was well established outside the world of classical guitar during the Twentieth Century, an idea that has led to an expansion of the instruments repertoire. Equinox in particular manages to sound cohesive even with untraditional uses of harmony and form. The purpose of this project is to determine why this is using analysis of pitch-content, contour, and form.

Key Words: Takemtisu, Equinox, guitar

THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A LOOK AT FORM AND PITCH CONTENT IN TORU TAKEMITSUS EQUINOX

By

DAVID SETTLE

A Thesis submitted to theDepartment of Music

in partial fulfillment of the requirements for Honors in the Major

The members of the Committee approve the thesis of David Settle defended on April 1, 2008.

______________________________Evan JonesThesis Director

______________________________Bruce HolzmanOutside Committee Member

______________________________Clifton CallenderCommittee Member

2

Table of Contents

I. Introduction................................4-8

II. Themes and Form.....................9-19

III. Pitch Content...........................20-25

IV. Technical Aspects....................26-27

V. Conclusion................................28-29

VI. Bibliography............................30-31

3

I. Introduction

Twentieth-century music supplies an ample amount of challenges for analysis, such as

defining form and tracing motives throughout pieces. It is also very diverse with many different

styles and influences appearing and, in some cases, melding together. One important example of

this is the influence of Eastern musical styles on Western music and vice versa. Toru Takemitsu

is an extremely significant figure in this regard. His use of solo traditional Japanese instruments,

the shakuhachi and the biwa, with a Western orchestra in November Steps (1967) garnered him

much acclaim.1 Takemitsu manages to strike a balance between these instruments sounding like

novelties and having them play in a Western style to blend in with the orchestra. He manages to

create a juxtaposition between the Western and Eastern elements he utilizes.

Takemitsu understood the compositional differences, especially with regards to temporal

issues, between the two cultures, as exemplified in his article My perception of time in

traditional Japanese Music:

Looking at European buildings I am always struck by a physicality that asserts itself on a

dimension that overcomes the flow of time. This is not only because they are large in comparison

with Japanese buildings nor because they are usually constructed from stone, a material of great

strength that is not easily worn away. It results rather from a difference between everyday life as

a whole and its concepts, and is something that reveals itself most directly in architecture. In

contrast to Western architecture, which occupies space in resistance to nature, Japanese

architecture possesses a tendency to share space in common with nature.

4

1 For more information on Takemitsus use of traditional Japanese instruments with Western musical ideas, see: Yoko Narazaki with Masakata Kanazawa, Takemitsu, Toru, in Grove Music Online, edited by Laura Macy. http://www.grovemusic.com (accessed September 18, 2007). Toru Takemitsu, One Sound, Contemporary Music Review 8/2 (1994): 3-4. Yayoi Uno Everett, Reflecting on two cultural mirrors: mode and signification of musical synthesis in Toru Takemitsus November Steps and Autumn, in A Way A Lone: Writings on Toru Takemitsu, ed. Hugh de Ferranti and Yoko Narazaki (Tokyo: Academia Music Ltd., 2002): 125-154.

The stone walls of Europe do not possess the lightness of wooden structures, and time

seems to settle heavily on them. When one compares this with Japanese architecture, which

changes its form (or space) in accordance with the shifts in the seasons, one is struck by the solid

way in which the stone houses of Europe assert their existence. It is just as if time accumulates in

a linear fashion from the points of these seemingly unbreakable buildings towards the depths of

their centres.2

This analogy of European and Japanese architecture, and especially their reactions to the shifts in

the seasons, can be observed in Equinox, written for classical guitar in 1993. Much like the

Japanese architecture he references, different melodic ideas seem to change their form slightly as

the piece develops. This creates the effect of hearing one motive subtly changing (like a

Japanese structure) rather than a single motive repeated with no change (like the stone walls of

Europe over time).

As stated, Takemitsu was an important figure for twentieth-century music due to his

blending of Eastern and Western musical styles. Ironically, he began his career eschewing

traditional Japanese ideas in his music. He was exposed to Western art music while working at

an American military base in Japan after World War II and decided shortly after that he wanted to

compose. He started to gain popularity with Requiem (1957), which Igor Stravinsky called a

masterpiece upon hearing. During this early period, he tried to avoid Japanese qualities in his

music. It was not until he met John Cage in 1964 that he started to appreciate traditional

Japanese musical styles.3

5

2 Toru Takemitsu, My Perception of Time in Traditional Japanese Music, Contemporary Music Review 1/2 (January 1984): 10-11.

3 Yoko Narazaki with Masakata Kanazawa, Takemitsu, Toru, in Grove Music Online, edited by Laura Macy. http://www.grovemusic.com (accessed September 18, 2007).

Takemitsus musical style went through many shifts throughout his career. His earlier

pieces are written using techniques that were popular at the time among contemporary

composers, such as twelve-tone and aleatoric compositions. The pieces that were composed in

the next period of his career started to show more of his own voice with the use of traditional

Japanese instruments and aesthetics. The later period of his career consisted of pieces that

tended to have more tonal characteristics than the previous periods. Throughout his career,

Takemitsu has a few characteristics that help define his style. This includes precise control of

timbre, interesting instrumental effects, and themes that run through his repertoire such as water,

gardens, and space.4

Unlike most well-known Twentieth-century composers, Takemitsu wrote many pieces

involving classical guitar and, in fact, played the instrument at an amateur level. According to

Julian Bream, With all his supreme mastery of orchestration, it came as a delightful surprise

when one day he said to me that of all the instruments that he writes for, the guitar was the one

he loved the most.5 This is evident in the number of pieces involving the instrument, including

solo, concerto, and small chamber pieces, as well as orchestral pieces with guitar (See Example

1.1 for a list of these pieces).

Among these compositions, four major solo pieces stand out. Folios (1974) was

commissioned by the Japanese guitarist Kiyoshi Shomura. It is in three movements that can be

performed separately. After composing this as well as two important chamber pieces for guitar,

Toward the Sea (1981) and Vers, larc-en-ciel, Palma (1984), he

6

4 For a much more in-depth look at Takemitsus different periods, see: Peter Burt, The Music of Toru Takemitsu (New York: Cambridge University, 2001).

5 Julian Bream, Toru Takemitsu: An Appreciation, Guitar Review 105 (Spring 1996): 2-3.

Pieces (In English) Date InstrumentationThe Story of Panapes Unexpected Victory 1958 Tenor, baritone, clarinet, vibraphone, piano, guitar, percussionRing 1961 Flute, terz guitar, luteBad Boy 1961 Two guitarsValeria 1965 Two piccolos, violin, cello, guitar, electric organStanza I 1969 Female voice, guitar, piano and celesta, harp, vibraphoneCrossing 1971 Piano, celesta, vibraphone, guitar, harp, female chorus, two orchestrasFolios 1974 Solo guitar12 Songs for Guitar 1977 Solo guitarToward the Sea 1981 Alto flute, guitarTo the Edge of Dream 1983 Guitar, orchestraVers, larc-en-ciel, Palma 1984 Guitar, oboe damore, orchestraAll in Twilight 1987 Solo guitarA Piece for Guitar 1991 Solo guitarEquinox 1994 Solo guitarIn the Woods 1995 Solo guitarSpectral Canticle 1995 Violin, guitar, orchestraAlone on the Pacific 1996 Soprano sax, alto sax, tenor sax, harp, piano, electric organ, guitar, harmonium, ukulele, orchestraDodeska Den 1996 Harp, celesta, recorder, guitar, harmonium, orchestraEx. 1.1) List of works written by Takemitsu involving the guitar6

composed All In Twilight for the guitarist John Williams, a short piece written in four

movements. Then, in 1994, Takemitsu composed Equinox, written for the 25th anniversary of

Kiyoshi Shomuras debut. This was followed by his last piece for solo guitar, and one of his last

pieces in general. In the Woods, a collection of three short pieces, was composed in 1995 and

dedicated to John Williams (the first piece, Wainscot Pond), Kiyoshi Shomura (the second

piece, Rosedale), and Julian Bream (the final piece, Muir Woods). Wainscot Pond

7

6 This list is compiled from a full list of works from: Yoko Narazaki with Masakata Kanazawa, Takemitsu, Toru, in Grove Music Online, edited by Laura Macy. http://www.grovemusic.com (accessed September 18, 2007).

received its premiere at Takemitsus funeral.7 In all of these pieces, it is evident that the guitar

fits Takemitsus style very well. The composer considered silence to be an equal to sound, not an

absence of it, and the resonance of the guitar suits this idea. The coloristic range of the

instrument was also appealing to Takemitsu due to his interest in timbre and instrumental effects.

Many of these aspects can be found in Equinox, a piece that, though only around five minutes

long, contains interesting thematic evolution, formal ideas, and examples of the range of tone

colors that the guitar can produce.

8

7 James Siddons, Toru Takemitsu: A Bio-bibliography (Westport: Greenwood, 2001): 62.

II. Themes and Form

Almost everything in Equinox can be traced to three initial themes that later evolve into

new motives. These themes appear in succession in the first ten measures of the piece and are

shown in Example 2.1. The first theme is based on a rhythm of three eighth notes and six

sixteenth notes, with the sixteenth notes repeating the last two eighth notes. The second theme,

first heard in mm. 5-6, consists of four chords, usually Eb dominant seventh, C major, B

dominant seventh, and a chord that differs in each restatement. The last theme, first heard in

mm. 6-7, contains a sixteenth note scale leading to a three-sixteenth note descending arpeggio

pattern.

Ex. 2.1a) First theme, m. 1

Ex. 2.1b) Second theme, mm. 5-6

Ex. 2.1c) Third theme, mm. 6-7

9

The first theme frames the first section of this piece in which all of the themes are

revealed (mm. 1-15). In each of these settings, a chord accompanies the theme, except for its

first return in m. 11. In this case, the note A is bent on the guitar to create a falling chromatic line

from Bb to A. The pitch content and the quality of these chords differ in almost each setting.

The second half of this theme is heard again in mm. 17-18, marking the beginning of the next

section of the piece. In this setting, the sixteenth notes still consist of a m6 interval as in the first

section, but this time the notes are descending. The theme is heard one last time in mm. 70-71,

beginning the last section of the piece. This occurrence is a repetition of mm. 3-4 pitch-wise,

with the only difference being that the accompanying chord is only played once.

The second theme to appear in the piece has a substantial amount of variations,

eventually resulting in the final motive. The original setting of this in mm. 5-6 is a motive

consisting of four chords: Eb dominant seventh, C major, B dominant seventh, and the Bb

augmented/minor seventh chord that appears in different melodic and harmonic incarnations in

other parts of the composition. The motive is heard in this four-chord version three more times

in the piece, with a different fourth chord each time and all different chords the second time

(mm. 29-30). However, the evolution of this motive deals more with the upper voice of the

chord than the chords themselves.

The pitches of the top voices vary in the chordal settings of the theme, though in the three

main instances, it can be traced as Db5-C5-Eb5-A4. The pitches, though, do not always factor

into the motives later transformations. The contour of this motive is the main idea that shapes

much of the piece. This line is easily noticeable in mm. 19-21 and later in m. 31 as the dotted

eighth note melody (shown in Example 2.2).

10

Ex. 2.2a) mm. 19-21

Ex. 2.2b) m. 31

To discuss this motive, two different contour notations will be utilized. To name the

motive, Michael Friedmanns notation will be used.8 His method involves assigning a + or - to

ascending and descending intervals, respectively. Therefore, as seen in Example 2.3a, this

motive will now be referred to as the motive. To discuss the various transformations that

this motive undergoes throughout the piece, Elizabeth West Marvin and Paul Laprades method

will be used.9 They use a numerical system to describe the shape of a motive. The highest note

in a given motive receives the highest number, while the lowest note is designated by 0. This

results in the initial setting of the motive being described as having a contour,

as seen in Example 2.3b.

11

1 Michael L. Friedmann, A Methodology for the Discussion of Contour: Its Application to Schoenbergs Music, Journal of Music Theory 29/2 (1985): 223-248.

2 Paul A. Laprade and Elizabeth West Marvin, Relating Musical Contours: Extensions of a Theory for Contour, Journal of Music Theory 31/2 (1987): 225-267.

(-) (+) (-)

Ex. 2.3a) motive 2 1 3 0

3:----------------------------- 2:----------------------------- 1:----------------------------- 0:-----------------------------

Ex. 2.3b) contour

The other straight-forward appearances of this shape include a slightly altered contour of

, though the general idea is the same. These appearances include a setting of the

motive played on harmonics in mm. 17-18, a melodic setting of the Bb augmented/major

chord in mm. 42-44 and mm. 66-67, and an eighth note setting in mm. 61-63. This is shown in

Example 2.4.

Looking deeper in the piece reveals other appearances of the motive in different

forms. The one that is closest to the original setting is in mm. 75-76, though in this form the

Ex. 2.4a) mm. 17-18

12

Ex. 2.4b) mm. 42-44

Ex. 2.4c) mm. 61-63

Ex. 2.4d) mm. 66-67

intervals between the notes are much smaller than those heard before, resulting in the motive

beginning and ending on the same pitch (a contour). This contour, shown in Example

2.5, is one of the characteristics that leads to the eventual form of this motive at the end of the

piece. The other characteristic is heard in mm. 35-39. In these measures, the contour

is combined with part of the third theme. This is harder to hear due to the rhythm of this section,

13

which employs two triplets in a duple meter. The accents, therefore, do not allow for the normal

resolution of the motive on the fourth pitch. Rather, the fourth pitch is stressed as the

beginning of the second triplet. This can be seen in Example 2.6.

Ex. 2.5) mm. 75-76

Ex 2.6) mm. 35-39

The end of the piece, and the final result of the evolution of this motive, comes from the

two previously discussed motives in mm. 35-39 and 75-76. The motive is based on two

repeating triplets. These share the same rhythmic shape as the first triplet in mm. 35-39. The

first four pitches share the contour of 75-76. Example 2.7 traces the evolution that

results in this final setting.

14

mm. 5-6 m. 17 m. 35 m. 42-44 (same notes as m. 66)

m. 63 m. 75 mm. 83-84Ex. 2.7) Evolution of motive

The third theme consists of two parts: a sixteenth note ascending run and a three-note

descending arpeggiation. The ascending scale differs in each occurrence. The three-note motive,

however, contains the intervals of a m3 followed by a m6, resulting in a [014] set-class. Also

worth noting in the first occurrence of the theme is the bass melodys contour, which is closely

related to the inversion of the motive. This theme is heard again in the second section of

this piece in mm. 32-34, and from there is developed and combined with the second theme in

many ways, including inversion (mm. 50-51), combination of the first half with the second

theme (mm. 60-61), and combination of the second half with the second theme (as described

earlier). First half Second half

Ex. 2.8a) mm. 6-7

15

Ex. 2.8b)mm. 32-34 - truncated third theme

Ex. 2.8b) mm. 32-34 - truncated third theme (cont.)

Ex. 2.8c) mm. 50-51 - inverted third theme in harmonics

Ex. 2.8d) mm. 60-61 - first half of third theme combined with contour from second theme

Unlike the other two themes, the third themes occurrence in the final section of the piece

does not recall the original setting of the theme. Instead, the setting heard in mm. 32-34 is

repeated, including the combination of the ascending run with the contour that

foreshadows the end of the piece in mm. 74-75.

16

Understanding these themes and their various transformations is useful in trying to define

the form of Equinox. The piece can be seen as having a three-section form (ABA). The A

section acts as an exposition of sorts by revealing the three prominent themes. The B section is

larger, mostly consisting of the transformations of the second and third themes that were

previously discussed. The A section is marked by a return of the first theme and contains all of

the themes heard in the A section with some of their transformations. An outline of the form can

be seen in Example 2.9.

First Section Second Section Third Section A B C A A C B 1-3 5-6 6-10 11-15 16-69 70-71 72-74 75-77 80-81 81-85

Ex. 2.9 - Form of Equinox

This outline shows the similarities between the first and third sections. Much like the

appearances of the themes throughout the piece, the two sections are slightly altered, with the

themes being heard in a different order the second time, and with some new material based on

the motive. Their lengths are also nearly equal. The length of the second section,

however, is much longer in comparison to the other two. Because of this, further discussion is

needed.

While it may seem desirable to break this section up to show a more even form, this

whole second section flows together without the formal divisions heard between the other

sections. Allusions to the first and third sections are heard throughout, as previously discussed.

One new aspect is a two-chord idea that is never the same pitch-wise, but is reminiscent enough

of each other to be considered a motive. This motive is actually alluded to in the first section in

m. 4, with A5 resolving to Bb4 in harmonics. In the second section, this motive is usually

presented in chords, sometimes resolving downwards, sometimes upwards, and sometimes both.

17

It appears again in the final section almost as it did in the first, though this time a full chord

resolves to Bb4. Example 2.10 shows this theme and some of its different appearances.

Takemitsu, in discussions on his use of form, typically does not admit to using any strict

formal constrictions. My music is composed as if fragments were thrown together unstructured,

m. 4 m. 79Ex. 2.10a) Allusions to the two chord motive in the first and third sections.

m. 26 m. 65

m. 64Ex. 2.10b) Instances of the two chord motive resolving downwards (m. 26), upwards (m. 65), and both (m. 64).

as in dreams. You go to a far place and suddenly find yourself back home without having

noticed the return.10 While this may seem to contradict any ideas of assigning form to a

18

3 Josiah Fisk, ed., Composers on Music: Eight Centuries of Writings (Boston: Northeastern University Press, 1997): 459.

Takemitsu piece, his analogy to a dream fits the form of this piece very well. The piece starts off

at home in the first section with a presentation of all the themes. The second section goes to a

far place with fragments thrown together unstructured, explaining the many alterations of the

second and third themes. Then the piece suddenly finds itself back home in the last section,

without having noticed.

19

III. Pitch Content

While the music of Equinox sounds remarkably unified, observing the pitch content and

trying to understand the unity of the piece is a difficult task. This stems from the fact that while

there are many scalar runs and many traditional harmonies, they do not conform to common

scales or functional harmonic progressions. Instead, the many scales heard throughout the

composition can be related by transformation and their abstract inclusion of two chords, the

[036] and [037] trichords.

The scalar runs heard in the piece are usually part of Theme C or its variations. While the

scales seem easily relatable when heard, they never contain all the same pitches. Some of them

can be related by transposition, inversion, or abstract complementation, however. Looking at the

occurrences of this theme in three sections (in the beginning, middle, and end of the piece),

relations can be found that link the scalar content together.

This ascending scalar run can first be heard in m. 6 and m. 8. A similar sounding run is

heard in m. 4 and a few more times in the piece, but it is used as a transition rather than part of

Theme C. The two occurrences in this section share only one common tone. The prime form of

the two scales, however, is the same ([013478]), with the second appearance being related to the

first by I2. An important factor to observe in this prime form is the number of semitones it

includes. This is utilized in the first appearance in m. 6 as well as some of the future variations

of this motive.

20

Ex. 3.1a) m. 6

Ex. 3.1b) m. 8 (scale involves down-stemmed notes)

The first two occurrences relate to the next hearing of this theme in mm. 32-34 (as seen in

Example 3.2). The first setting in m. 32 consists of the same pitches as m. 6, except for an E

instead of an Eb. The second setting in m. 33 is the abstract complement of the original scale.

The last scale, heard in m. 34, is new. While it does not relate to the previously heard scales, it

can be seen as transitional material. It leads into the next motive by abstractly including its

melody. This also happens in m. 60, as again the scale does not relate to the other scales of this

theme but does abstractly include the melody of the next section (this relationship is shown in

Example 3.3).

Nearly same pitches as m. 6 Abstract complement of original scale Ex. 3.2a) Scales in mm. 32-33

21

Pitches of m. 6 I6 of m. 6 Pitches of m. 33 in black, I6 of m. 6 in white

Ex. 3.2b) Example of abstract complementation between m. 6 and m. 33

Ex. 3.3a) Scale used as a transition in mm. 34-35 by abstractly including the melody in following measures

Ex 3.3b) Scale used as transition in mm. 60-61 used as in Ex. 3.3a

The last setting of Theme C (shown in Example 3.4) presents an interesting number of

relationships. The first scale in m. 72, {2,3,6,9,10}, is one pitch away (by omission) from being

either a transposition of the scale heard in m. 33, {1,2,5,6,7,10} or a repetition of the scale heard

in m. 6, {2,3,6,7,9,10}. However, it is also one pitch away from being relatable to the scale

heard in m. 74, {0,1,3,5,6,9}, which does not relate to any of the other occurrences. This is also

true of the setting heard in m. 78, {1,2,6,7,10}, while the scale in m. 73, {2,3,6,7,8,11} is a

transposition of the scale in m. 33. These relations are summarized in Figure 1.

22

Same as m. 6 or T8 of m. 33Ex. 3.4a) m. 72

T1 of m. 33Ex. 3.4b) m. 73

T3 of m. 72Ex. 3.4c) m. 74

T4 of m. 72 or same as m. 33

Ex. 3.4d) m. 78

23

mm. Pitch-Class Set Prime Form Relationships6) [013478] Abstract Complement of m.338) [014578]32) [013468] I2 of m. 833) [012569] Abstract Complement of m. 6 34) [0123569] Transitional60) [013479] Transitional72) [01478] T8 of m. 3373) [012569] T1 of m. 3374) [013568] T3 of m. 7278) [01478] T4 of m. 72 or T0 of m. 33

Figure 1: Relationships between settings of Theme C scale

While these relationships help to connect some of the scales, one other relation is

important to observe. All of the scales abstractly include at least one [037] and one [036]

trichord. This effectively links all of the scales together, and it shows the importance of these

two trichords to the piece. This can be seen in Example 3.5.

m. 6 m. 8

m. 32 m. 33 m. 34

24

m. 60 m. 72 m. 73

m. 74 m. 78

Example 3.5Up-stemmed notes show one possible [037] chord, down-stemmed notes show one possible [036] chord.

25

IV. Technical Aspects

An analysis of Equinox cannot be complete without a look at the technical aspects of it.

Takemitsus tendencies of precise notation for purposes of timbre and of using non-traditional

instrumental effects are an important part of the piece.

The composer uses a very unordinary tuning for the guitar. The standard tuning

(E-A-D-G-B-e, from lowest to highest) is altered by the tuning of the sixth and second strings

down a semitone, resulting in an Eb-A-D-G-Bb-e tuning. This creates an interesting sound for

the open strings, with semitones and tritones made easily accessible to the player. The notes of

this tuning even makes an appearance in the piece, as a rasgueado is performed on the open

strings in m. 13 (Example 4.1). Two measures before this, another interesting effect is heard:

bending the third string at the second fret to create a falling chromatic Bb-to-A gesture (Example

4.2). Bending a string like this is common in popular guitar music, which Takemitsu was

interested in (he released a set of twelve arrangements of popular songs for the classical guitar);

in the classical guitar repertoire, however, this is an uncommon effect.

Ex. 4.1) Rasgueado on open strings, m. 13

Ex. 4.2) Bending of the third string, m. 11

26

These two examples reveal another aspect of Takemitsus writing: his inclusion of

precise playing instructions. Almost every gesture is marked with a note to play either sul

ponticello, sul tasto, or ordinary. Tempo is also strictly notated, though with the many tempo

changes and instructions to slow down or speed up, the piece feels very free rhythmically.

One important instruction for performing this piece is to let vibrate. The composer uses

this at the end of almost every gesture, along with slurs over rests so that these gestures resonate

at every point. This ties in with Takemitsus common use of silence. The composer was

interested in the Japanese philosophy of ma, in which silence is considered the interval between

two sounds, rather than the Western idea of silence marking the end of sound.11

27

11 For more on Takemitsus interest in silence and ma, see: Steven Nuss, Hearing Japanese, hearing Takemitsu, Contemporary Music Review 21/4 (2002): 35-71. Roger Reynolds, A Jostled Silence: Contemporary Musical Thought (Part One), Perspectives of New Music 30/1 (Winter 1992): 22-35. Toru Takemitsu, Mirrors, Perspectives of New Music 30/1 (Winter 1992): 36-80.

V. Conclusion

Though not a widely discussed piece among Toru Takemitsus celebrated oeuvre,

Equinox is a great example of the composers mastery of timbre, meter, and melody during his

late period.12 The title serves as a great descriptor for the piece. It can be thought of as referring

to the Spring and Fall Equinox, or more generally, the changing of the seasons. The evolution of

the themes heard in this piece can be seen as an analogy to the affect of time on objects, like the

Japanese structures that co-exist with nature discussed in the Introduction. These ideas, as well

as others discussed in this paper, can be inferred from the writings of Takemitsu:

For the Japanese, nature as well as man are entities that live and die within a world of

time. Whereas the modern Western concept of time is linear in nature, that is, its

continuance always maintains the same state, in Japan time is perceived as a circulating

and repeating entity.

[...]Nature is conceived in terms of the seasons, and this has given rise to a unique

temporal sense, which has been further fostered by the influence of Zen and Buddhist

teachings. This special temporal sense is strongly reflected in the time structures of the

traditional music of Japan.13

Along with the allusions to seasonal change observed in the piece, another common idea

that is used to describe Takemitsus music can be applied. This involves the influence of walking

in Japanese gardens on his music. Takemitsu clearly describes this in a description for his piece

Arc for piano, orchestra, and electronic sounds: The solo piano assumes the role of an observer

strolling through the garden. In the same way that plants and sand exist in a given space in their

28

12 In a memorial issue for the composer in Guitar Review, only Julian Bream mentions the piece, and even then only discusses the tuning. Peter Burt has little to say about the piece in his book The Music of Toru Takemitsu, as well.

13 Toru Takemitsu, My Perception of Time in Traditional Japanese Music, Contemporary Music Review 1/2 (January 1984): 10-11.

own time, changing with the climate and seasons...so do musical aspects change in this piece.14

While this was in reference to a garden consisting of musical ideas strewn throughout the

orchestra in different instruments, an analogy can be made to the themes in Equinox. Each

theme acts as an object in a garden. The listeners role is that of the observer, watching the

objects change as their perspective changes and as the objects are altered by the seasons.

29

14 Toru Takemitsu, Confronting Silence: Selected Writings (Berkeley: Fallen Leaf, 1995): 95.

Bibliography

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Burt, Peter. The Music of Toru Takemitsu. New York: Cambridge University, 2001.

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Everett, Yayoi Uno. Reflecting on two cultural mirrors: mode and signification of musical synthesis in Toru Takemitsus November Steps and Autumn. In A Way A Lone: Writings on Toru Takemitsu, ed. Hugh de Ferranti and Yoko Narazaki, 125-154. Tokyo: Academia Music Ltd., 2002.

Fisk, Josiah, ed. Composers on Music: Eight Centuries of Writings. Boston: Northeastern University Press, 1997.

Friedmann, Michael L. A Methodology for the Discussion of Contour: Its Application to Schoenbergs Music. Journal of Music Theory 29.2 (1985): 223-248.

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SP08 Settle_David Abstract and KeywordsSP08 Settle_David Final Thesis