Works for Flute Solo Fukushima

Table of Contents

Page

List of Figures ii

List of Musical Examples iii

List of Tables ?

Introduction 1

Chapter I: Kazuo Fukushima's Life and Music 4

Chapter II: The Influence of Japanese Culture in Fukushima's Music 20

Chapter III: Requiem'. 38

Chapter IV: Mei 62

Chapter V: Shun-san 94

Chapter VI: Conclusion 137

Bibliography 141

Appendix: The Works of Kazuo Fukushima 146

List of Figures

Figure Number

.1. Robert Craft's Messageon Concert Brochure 122.1.VisualPresentationofJo-Ha-

KyuForm232.2.SonataFormandJo-Ha-KyuForm354.1.DesignationfortheSetwithQuarter-

Tone754.1.LineGraphofRhythmicStructureofMei805.1.ThreeFingeringsforG-

Sharp1055.2.DynamicandTimbraiProgressioninSection11095.3.DynamicLineGraphofShun

-san117Il

List of Musical Examples

ExampleNumberPage2.1.RequiemforFluteSolo,mm.11-

18252.2.SuienforPiano,p.7312.3.EkagraforAltoFluteandPiano,mm.17-

20362.4.MeiforFluteSolo,mm.1-

6363.1.PrimaryRowofRequiem413.2.PhraseandToneRowStructureinRequiem,mm.1-

6423.3.Requiem,mm.1-3453.4.Requiem,mm.4-6andItsReduction463.5.Requiem,mm.19-

23483.6.CSEG<120>(CSEG<201>)MotivesinRequiem493.7.ThePhraseandTone-

RowStructureinmm.37-44523.8.RhythmicStructureinmm.4-

6554.1.PitchAggregatesinMei704.2.ThreePiecesfrom"Chu-u",III724.3.Pitch-

SetStructureofMei,mm.1-8744.4.Pitch-SetStructureofMei,mm.7-15764.5.Pitch-

SetStructureofMei,mm.25-

48774.6.TheFourBasicNohkanDancePatterns,asTranscribedbyWilliamMalm834.7.TheAcc

entedGraceNoteGestureinMei,mm.37-38895.1.ClefPlacementinShun-

san985.2.ExamplesofLocatorsinShun-san1025.3.MultiphonicGroupsinShun-san,bb.62-

67Ill5.4.ExamplesofQuasi-PortamentoGesture1145.5.StructuralSketchofShun-

san,Section1119iii

5.6.StructuralSketchofShun-san,SectionII1235.7.StructuralSketchofShun-

san,SectionIII127IV

List of Tables

TableNumberPage3.1.IntervalContentofthePrimaryRow413.2.FormalStructureofRequiem4

43.3.FormalStructureofSectionII483.4.SuggestedFingeringsforHarmonics604.1.Structureof

Hi-kyo664.2.StructureofMei674.3.StructureofSectionBinMèi684.4.SuggestedQuarter-

ToneFingeringsinMei905.1.ComparisonofFingerings1025.2.ComparisonofDynamics1075.3

.SectionalStructureofShun-san1165.4.StructureofSectionIinShun-san120?

Dedication

Thisdissertationisdedicatedtotwowonderfulpeoplewhohavegreatlyinfluencedmylife:Wen-

KoLee,myfather,forhisunconditionalloveandsupport,andthelateCherylGobbetti-

Hoffman(1953-

2008),mybelovedteacherandmentor,notonlyfortheintroductiontocontemporaryflutemusicthat

sheaffordedme,buthergreatencouragementformymusicalperformanceandstudies.Itisshewh

oprovidedmewiththeinspirationtoundertakethepresentdissertation.Vl

Acknowledgment

Firstofall,IwouldliketoexpressparticulargratitudetoProf.DonnaShinforherguidanceandadvisin

gthroughoutthedissertationprocess.Itwouldhavebeennexttoimpossibletocompletethisdissert

ationwithoutProf.Shin'shelpandguidance.Next,averyspecialthanksmustgotoProf.KazuoFuk

ushima.Hehasbeensokindtooffermesomuchpreciousinformationandsomanymaterials.Ialso

wouldliketooffermythankstoSarahBassingthwaighteandTimothyKinsellafortheirhelpinproofr

eadingandeditingmywritings.Lastly,Iowemydeepestgratitudetoallthosewhoextendedtheirass

istanceandsupportduringthecompletionofthisproject.ManythankstoZartDombourian-

Eby,RobertTunstall,Hui-MeiChen,Chen-ChangLiu,Chen-HuiJen,Sheng-

MingChang,and,ofcourse,myfamily.VII

1IntroductionKazuoFukushima(b.1930)isoneoftheearliestJapanesecomposerstobeknownb

yaWesternaudience.Activeasacomposerduringthe1960s,hewashighlyacclaimedbyseveralm

ajorfiguresofWesternmusic,includingcomposerIgorStravinsky,conductorRobertCraft,andfluti

stSeverinoGazzelloni.Alargebodyofhisworkiswrittenforflute.Mei,hismostwell-

knownwork,isconsideredanimportantpartofthecontemporaryfluterepertoire.Today,however,

Fukushimaisknownmainlyasamusicologist.HeisdevotedtothestudyandcollectionofJapanese

gagakumusic.BecauseofhisextraordinaryresearchcontributionstoJapanesemusichistory,Fu

kushima'smusicwasoverlookedforoveradecadebyWesternscholarsuntilthe1990s.Priortothe

1990s,themajorresearchonFukushimaintheWestwasashortsectionaboutMeiinKatherineHay'

s1980dissertation,"EastAsianInfluenceontheCompositionandPerformanceofContemporary

FluteMusic".Thiswork,intheopinionofthepresentauthor,reflectssomemisunderstandingsofFu

kushima'smusic.ThisismostlikelyduetothelackofinformationaboutJapanesemusicandculture

atthattime.Acommonmisunderstandinginearlierresearchwastoconsidertheshakuhachiasthe

mainreferenceofMei.Thismisconceptionwasnotcorrecteduntil2008whenMihoko

2Watanabepublishedheressay,"TheEssenceofMei:AnExplorationoftheInspirationbehindMei

throughInterviewswiththeComposer."Watanabe'sarticleidentifiestheJapanesenohkanfluteas

themaintimbraireferenceofthepiece.Sincethe1990s,Fukushima'smusichasreceivedmoreatte

ntionbyWesternmusicians.Earlyinthedecade,EberhardBlummadeanalbumofFukushima'sflu

teworks.Releasedin1992,itisthefirstcomprehensivecollectionofFukushima'sworksincethe19

78recordingbyRobertAitken.BothWatanabe'sessayandConstanceKelley's2008dissertation,"

UnaccompaniedFluteRepertoireInfluencedbytheJapaneseShakuhachi:AnExaminationofThr

eeRepresentativeTwentieth-

CenturyWorks,"discussFukushima'smusicextensivelyandshowadeeperandmorecomprehen

siveunderstandingofhiscompositionalprocessandtheelementsthatinformit.Thecurrentdocum

entsanddissertationsaboutFukushima'sflutemusic,however,mainlyfocusonitsmusicologicala

ndethnomusicologicalaspects.ThisdissertationintendstoapproachFukushima'smusicfromat

heoreticalaspect,aswellasfromtheperspectiveofaperformer.Thestructuralanalysisundertake

nbythepresentauthorservestoconfirmandexpandupontheethnomusicologicalperspectivespr

esentedbypreviousresearch.Theauthoralsooffersperformancesuggestionsbaseduponthatan

alysis,aswellasontheauthor'sownsubjectiveexperience.Thethreepiecesforsoloflutediscusse

dinthepresentdissertationserveasavehicletoward

3theevolutionofFukushima'smusicalconcept.Thethreeworksspanoveradecadebetween1956

and1969.TheyillustratetheprogressivedevelopmentofFukushima'scompositionalvoice.Thee

xpressionofaconceptofnaturerootedinZenBuddhismandNoh-

theateriscentraltoFukushima'smusicalquest.Concurrently,wemayobservehisprogressiveab

andonmentofWesternmusicalconventionsandhisdevelopmentofauniquenotationalsystem.T

hus,hisconceptsmaybeconveyed.

4

Chapter I. Kazuo Fukushima's Life and Music

Early Life

KazuoFukushimawasbornin1930inTokyo.Thegenerationborninthe1930sgrewupinatimedes

cribedbyJapanesewriterRyotaroShiba(1923-

1996)as"thecraziestyearsinJapanesehistory."1ThisgenerationgrewupduringtheSecondWorl

dWar(1939-

1945).Duringtheirteenageyears,theyhadtofacethedefeatoftheircountryanditsconsequences.

Duetothedevastationoftheeconomyandthechangeinsocialvaluescausedbytheupheavalofthe

war,Japanesesocietywasincompletechaos.AsTokyowasattheepicenterofthewarandsubjectt

ofrequentbombing,FukushimawasforcedtodrophisstudiesatTamagawaGakuenHighSchool.

Healsolosthisfatherandbrothersduringthewar.Thus,thewarmadeahugeimpactonhiminhisfor

mativeyears.SeeingrelativesandfriendsdieinthewaraffectedFukushimagreatly.Imagesofwar

anddeathdominatedtheperspectivesoftheyoungFukushima.2Fukushimarecallshismemories

ofthewaranditsinfluenceonhiminhisarticle,"SakkyokukanoMe[TheViewoftheComposer]",Fro

magethirteentofifteen,whichwasthetimethatthewarwasabouttoend,"death"prevailedinmysurr

oundings.Toomanyyoungpeoplewhowereclosetomeweresacrificed,includingtwoofmyolderb

rothers,andmanyfriends.Tokyo1RyotaroShiba,quotedbyHiroyoshiSuzuki,"KoobooHossoku

ToojinoSakkyokukaTachi[TheComposersintheInitialStageoftheKobo],"notestoMusicfromEx

perimentalWorkshop.CD,Fontec,FOCD3417(1997),6-

7.2KazuoFukushima,interviewedbytheauthorwithtranslatorRobertTunstall,February6,2010,

Tokyo.

5wasattackedfromtheair.ThebombardmentmadeFukui,whichwascalled"thecityofspinning,"c

ompletelyflatinonenight.Myfamilymembersdecreasedfromseventofour.Iwasveryyoungatthat

time.ItwasamiraclethatI,asanon-

militarymember,couldsurvive.Perhapsthisisthereasonthatthestyleofmycompositionswasver

ymuchlikeatuneofchinkon[literally,"tocalmtherestlesssouls"]whenIstartedcomposing.Fukush

imafurtherexpressedhisfeelingabout"death,"Whenthoseofuswhosurvivedthewarthinkaboutli

ving,wearemorestronglyawareofdeath.Icanonlybeawareofhowitfeelstobealiveafterhavingex

perienceddeath[aroundme].Toomanypeoplearoundmedied[inthewar].Lifeanddeathareactua

llytwosidesofthesamecoin,but[tothoseofuswhoexperiencedthewar]deathismorepowerful.4D

uetotheimpactthewarhaduponhim,deathwasthepersistingfocusofFukushima'smusic.Several

ofthetitlesofhisworksshowadirectrelationshipwiththethemeofdeath,suchasRequiem(1956),K

adhaHihaku(1958,"APoemoftheFlyingSpirit"),Chu-

u(1959,"TheJourneyoftheDeadPeople"),andMei(1962,meaning"dark,"aswellashavingtheim

plicationof"theworldofthedeath").Otherworkseitherimplytheimageofdeathintheirtitle,suchasT

sukishiro(1965,"TheSpiritoftheMoon"),orpresentadarkandheavycharacterinthemusic.Thepr

evalenceA<Dit<DiR\u<D$;mt£}£.mz.%%&<Dm*&mz.mix^it<D-

çhz0^tfxymoQU.mm^tc"m^#§T?feò?

o"KazuoFukushima,"SakkyokukanoMe[TheViewoftheComposer],"KikanMuramatsu,Vol.96(

2007):4.ThetranslationfromtheJapaneseistheauthor'sown.Throughoutthisdissertation,unles

sotherwisenoted,thetranslationsaretheauthor's.4Fukushima,interview.< p=""></Dit<DiR\

u<D$;mt£}£.mz.%%&<Dm*&mz.mix^it<D-çhz0^tfxymoQU.mm^tc"m^#§T?feò?

o"KazuoFukushima,"SakkyokukanoMe[TheViewoftheComposer],"KikanMuramatsu,Vol.96(

2007):4.ThetranslationfromtheJapaneseistheauthor'sown.Throughoutthisdissertation,unles

sotherwisenoted,thetranslationsaretheauthor's.4Fukushima,interview.<>

6ofdeathimageryinFukushima'smusiclastsuntilARingoftheWindin1968.StartingfromShun-

san(1969),thecharacterofFukushima'smusicbecomesmuchdifferentfromthedarkandheavyc

haractertypicalofhisearlierworks.Thecharacterofhissubsequentmusicisfarbrighterandlife-

affirmingbycontrast.JikkenKoboFukushimareceivednoformalmusicaltraining.Afterthewar,Ja

panwastakenoverbyAmericanforces,whogovernedfrom1945to1952.Amusicprogramwasbro

adcasteveryafternoonbytheAmericanmilitaryradio,knownasFENTokyo(theFarEastNetwork).

ThisradioprogrambecamethemainsourceofWesternmusicforFukushimaandhisfriends,includ

ingToruTakemitsu(1930-

1996)andHiroyoshiSuzuki(b.1931).LikeFukushima,bothTakemitsuandSuzukiwereTokyo-

areacomposersandfuturemembersoftheexperimentalartsgroupJikkenKobo.Fukushima,Tak

emitsu,andSuzukioftengatheredatthehouseofNoriakiHamada,amemberofthechoirtowhichT

akemitsubelonged,tostudyBeethoven'sSymphonyNo.9andMozart'sAveverumcorpus.Itisals

oatthistimethatthethreeofthembegantostudyOlivierMessiaen's(1908-

1992)Préludesforpiano(1928-29).65Suzuki,ibid.6Ibid.

7TakemitsuandSuzukimadeuptheirmindtomakecomposingtheircareerearlyon.Takemitsuha

dalreadypresentedseveralworksby1950,buttheseworkswerenotappreciatedbytheaudienceo

fthetime.Duringthefallof1951,theJapanesepoetTakiguchiShuzo(1903-

1979)gatheredagroupofyoungartistsandformedthegroup"JikkenKobo"(^iIM,literally,the"Exp

erimentWorkshop").TakemitsuandSuzukiwereamongthefoundingmembersofthegroup.Jikke

nKobowasnotstrictlyamusicalgroup.ThemembersofKobocamefromdiversedisciplines.Besid

esTakemitsuandSuzuki,thefoundingmembersincludedcomposerJojiYuasa(b.1927),painters

ShozoKitadai(1923-2001)andKatsuhiroYamaguchi(b.1928),printmakerTesuroKomai(1920-

1976),pianistTakahiroSonoda(b.1928),photographerKiyojiOtsuji(1923-2001),poet-

criticKuniharuAkiyama(1929-

1996),lightingdesignerNaojiImai(b.1928),andmechanicalengineerHideoYamazaki(1920-

1979).ThreemembersdidnotjointheKobountil1953.TheyarecomposersKeijiroSatoh(b.1927)

andKazuoFukushima,andKazuo'soldersister,thepainterHidekoFukushima(1927-

1997).7ThepresentationsofJikkenKobowereintermediaryandinterdisciplinary.Theirpresentat

ionsincludedmusicalperformance,auto-

slideshows,andelectronicmusic,etc.JikkenKobonotonlypresentedthecompositionsoftheirme

mbers,butalsoworksbycontemporary7NihonSengoOngagushiKenkyukai,eds.,Nihonsengoo

ngakushiVol.11945-1973["Post-WarJapaneseMusicHistoryVol.11945-1973"]

(Tokyo:Heibonsha,2007),218-221.

8Westerncomposers,suchasBélaBartók(1881-1945),OlivierMessiaen,SamuelBarber(1910-

1981),andEricSatie(1866-1925).8Fukushima'sfirstworkinJikkenKobowastheauto-

slideshow,"MinawawaTsukurareru(FormisCreated)."Thisworkwasmadeincollaborationwithh

issisterHidekoandpresentedintheFifthJikkenKoboPresentationin1953.9Onthesameoccasio

n,Fukushimaalsopresentedhisfirstmusicalwork,Poésieininterrompueforviolinsolo.AsFukushi

mawasnottrainedtoperformonanymusicalinstrument,thepiecewascomposedbythemethodof

sittinginfrontofapianoandpressingthekeystofindthenotes.1FukushimaremainedinJikkenKob

oonlybriefly.AfterthepresentationofPoésieininterrompue,Fukushimaencountereddifficultiesi

ncontinuinghiscompositionalcareer.Thisismostlikelyduetohislackofformalmusicaleducation.

Thus,helefttheKoboinsearchofanewdirectioninhiscomposition.Hestillkeptintouchwithhisfrien

dsintheKoboandattendedKobo'spresentations.AttheJikkenKobochambermusicconcertin19

55,FukushimawasinspiredbyKeijirouSatoh's(1926-

2009)FivePoemsforpiano.Thisworkisoneoftheearliesttwelve-

toneworksbyaJapanesecomposer.UndertheinspirationofSatoh'spiece,Fukushimastartedtos

tudytwelve-tonecomposingtechnique.Thefirstexerciseofthetwelve-

tonetechniquebyFukushimaresultedinRequiemforflutesolo(1956).Requiem,however,wasnot

presentedpubliclyuntil8Ibid.9MidoriYoshimoto,IntoPerformance:JapaneseWomenArtistsinN

ewYork(NewBrunswick:RutgersUniversityPress,2005),18,205.10Fukushima,interview.

9January1959.AlthoughmembersofJikkenKobocontinuedtheirassociationwithFukushimaan

dtorecognizehimasanimportantmember,heneverofficiallyreturnedtothegroupasafullmember.

Fukushimaremainedongoodtermswithhisformercolleagueswhilehestruckoutonhisown.Afterf

inishingRequiem,FukushimareceivedthescoreofPierreBoulez's(b.1925)Lemarteausansmaît

re(1953-

55).Hewasimpressedbythewritingforaltofluteinthemusic.Fukushimadecidedtomakealtoflutet

hemaininstrumentofhisnextpiece.11Inthespringof1958,KuniharuAkiyamavisitedFukushimaa

ndsawthescoreofFukushima'snewly-

composedEkagraforaltofluteandpiano.AkiyamaencouragedFukushimatosubmittheworkforth

ecompositioncompetitionoftheSecondInternationalFestivalforContemporaryMusicatKaruiza

wa.PremieredbyflutistRirikoHayashiinthefestival,Ekagrawonanhonorablementioninthecomp

etition.ThefirstprizeforthatyearwenttoTakemitsu'sLeSonCalligraphéIandShinichiMatsushita'

s(1922-

1990)ChamberCompositionforeightplayers.13Withhisparticipationinthefestivalandthesucce

ssofhiswork,Fukushimathusformallyresumedhiscompositionalcareer.IntheKaruizawafestiva

l,FukushimaalsometJapaneseflutistSouichiMinegishi(b.1923).Minegishilaterintroducedhimt

othewell-knownItalianflutistSeverinoGazzelloni(1919-

1992).ContrarytoEkagra'ssuccessattheKaruizawafestival,Fukushima'snextwork,Kadha11F

ukushima,"SakkyokukanoMe[TheViewoftheComposer],"KikanMuramatsu,Vol.96(2007):3.1

2KazuoFukushima,notestoMusicfromExperimentalWorkshop.CD,Fontec,FOCD3417(1997)

,14-15.13NihonSengoOngagushiKenkyukai,eds.,NihonsengoongakushiVol.21973-

2000["Post-WarJapaneseMusicHistoryVol.21973-2000"](Tokyo:Heibonsha,2007),431-432.

10Hihaku(1958),gameredverydiverseresponses.GermancomposersKlausPringsheim(1883

-1972)critiqueditas"non-musicalnoise,"andHansHeinzStuckenschmidt(1901-

1988)describeditas"themostincomprehensiblework."14Bycontrast,theAmericanmusiccriticH

euwellTircuit(b.1931)consideredthepiece"abrilliantworkwithexcitingtimbre."15Fukushimaan

dtheWestInApril1959,IgorStravinsky(1882-

1971)andAmericanconductorRobertCraft(b.1923)wereinvitedtobetheguestconductorsofNH

K{NipponHösöKyökai,literally,"JapanBroadcastingCorporation")SymphonytoperformStravin

sky'sFirebirdandPetrouchkainTokyoandOsaka.ThiswasthefirsttimeanymajorfigureofWester

nmusicvisitedJapan.AtthesuggestionofTircuit,StravinskyandCraftreviewedmorethanthirtyre

cordingsofworksbyJapanesecomposers.ThisincludedtheNirvanaSymphonybyToshiroMayu

zumi(1929-

1997),EkagrabyFukushima,RequiemforstringorchestrabyTakemitsu,andaworkbyMakotoMo

roi(b.1930).17StravinskyandCraftwereespeciallyinterestedinFukushima'sEkagra,andrecom

mendedthepieceforperformanceintheUnitedStates.14TakashiFunayama,notestoKazuoFuk

ushima:WorksforFlute.LP,Columbia-Denon,OX-7136-

ND(1978).15Ibid.16NihonSengoOngagushiKenkyukai,eds.,NihonsengoongakushiVol.1194

5-1973["Post-WarJapaneseMusicHistoryVol.11945-1973"](Tokyo:Heibonsha,2007),348-

349.17Ibid.,348-350.

11EkagrawasperformedattheMondayEveningConcertsponsoredbytheSouthernCaliforniaC

hamberMusicSocietyonApril4,1960inLosAngeles.OtherworkspresentedinthatconcertwereC

hamberMusicforThirteenPlayersbyArthurBerger(1912-

2003),SechsVermessenebyErnstKrenek(1900-

1991),WoodwindQuartetbyMiltonBabbitt(b.1916),andThreePiecesfromthe"LyricSuite"byAlb

anBerg(1885-

1935).TheconcertwasconductedbyCraft.18CraftacclaimedFukushima'spiecehighly,andcon

sideredtheworkasoneofthebestintheconcert(Figure1.1).Giventheaccomplishmentsandrecog

nitionoftheothercomposerswhoseworkwereperformed,thisishighpraiseindeed.Theconcertm

arksthefirsttimethatFukushima'smusicwasintroducedtoanAmericanaudience.Thus,hebeca

meoneofthefirstJapanesecomposersknowntotheWesternworld.AsaresultofhissuccessinLos

Angeles,Fukushimabecameafrequentparticipantatnewmusicfestivalsthroughouttheworld.H

ewasinvitedtotheThirty-

FifthWorldMusicFestivaloftheInternationalSocietyforNewMusicinVienna(1961),theContemp

oraryMusicFestivalinDonaueschingen(1961),theSixteenththroughEighteenthNewMusicFest

ivalsatDarmstadt(1961-

1963),andtheInternationalSocietyContemporaryMusicWorldMusicFestivalinLondonMonday

EveningConcerts1959/1960TwelfthProgram(LosAngeles,1960),concertbrochure.Apersonal

messagewrittenbyRobertCraftonFukushima'scopyoftheMondayEveningConcerts1959/196

0TwelfthProgramconcertbrochure.

?^ViT;,¿*V#IHiV-isMONDAYEVENINGCONCERTS1959/1960TWELFTHPROGRAM?

APRIL·I960^?^^?^Z-f**fayj.?~*<)./7D-

V^M^¿WFigure1.1.RobertCraft'sMessageonConcertBrochure,providedbyKazuoFukushima

.Craftstated,"Fukushima'spiecewasalotbetterthaneverythingexceptBerg(inmyopinion)."202

0Ibid.

13(1963).21Ofallthesefestivalpresentations,themostimportantandinfluentialoneforFukushim

awastheoneatDarmstadt.Inthesummerof1961,FukushimawasinvitedbyDr.WolfgangSteinec

ke(1910-1961)togivealectureentitled"No-

theaterundjapanischeMusik"attheSixteenthInternationaleFerienkursefürNeueMusikatDarm

stadt(August29-

September10)inGermany.FoundedbySteineckein1946,theDarmstadtsummercoursesbeca

meoneofthemostimportantvenuesforpost-

warcontemporarymusic.Oneofthemostimportantideastospreadoutfromthefestivalwasserialis

m.Darmstadtthusbecamethecenterofserialmusicinthe1950s.Composersinvolvedwiththefesti

valincludeMiltonBabbitt,LucianoBerio(1925-

2003),PierreBoulez,andKarlheinzStockhausen(1928-

2007).FukushimawasamongthefirstJapanesecomposersinvitedtothefestival.Otherspeakers

atthe1961summercoursesincludedKarlheinzStockhausen,PierreBoulez,andTheodorW.Ado

rno(1903-

1969).22FukushimawassubsequentlyinvitedtoreturntotheDarmstadtfestivalforthefollowingt

woyears.Hismostwell-

knownwork,Meiforsoloflute,waspresentedinamemorialconcertinSteinecke'shonoratthe1962

festival.AnotherimportantpersonwhohelpedbringFukushimatotheworldstagewastheItalian21

Authorunknown,"ContemporaryComposersofJapan,"PanPipesofSigmaAlpha,56/3(1964):7.

22ErnstThomas,ed.,DarmstädterBeiträgezurNeuenMusikIV(Mainz:SchottMusikInternationa

l,1962),116-120.

14flutistSeverinoGazzelloni.Gazzelloni,aninternationally-

knownflutistinthesecondhalfofthetwentiethcentury,wasespeciallyfamousforhiscontributionto

thepromotionofavant-

gardeflutemusic.Hepremieredmanyimportantflutepieces,includingworksbyBerio,Boulez,Sto

ckhausen,LuigiNono(1924-1990),FrancoDonatoni(1927-2000),andBrunoMaderna(1920-

1973).HeisalsoknownasthededicateeofBerio'sSequenza(1958),oneofthemostimportantwor

ksofthetwentieth-

centurysolofluterepertoire.AttheinvitationofMaderna,hejoinedtheDarmstadtFestivalinthelate

1940sasaperformer.23InApril1961,GazzellonitouredJapanwiththeDarmstadtensemble.Fuk

ushimawasintroducedtoGazzellonibySouichiMinegishi.Fukushimagavehimthescoresofhisfl

uteworks,Requiem,Ekagra,andThreePiecesfrom"Chu-

u."GazzelloniwasimpressedbyFukushima'smusicandaskedhimtotranscribeKadhaKarunafor

twoflutes,pianoando-

tsuzumitoanarrangementforfluteandpiano.Intheyearsthatfollowed,Gazzellonibecameanadv

ocateofFukushima'sflutemusic.InMay1961,GazzellonipremieredThreePiecesfrom"Chu-

u"inPalermo,Italy.ThearrangementoíKadhaKarunaandMeiwerepremieredinApril1962inItaly

aswell,andRequiemwaspremieredinSeptember1963inStockholm.BecauseofGazzelloni'spe

rformances,Fukushima'sflutemusicbecameknownbyEuropeanaudiences.Inadditiontocham

pioninghis23"SeverinoGazzelloniDiscographyatDiscogs,"Discogs.http://

www.discogs.com/artist/Severino+Gazzelloni(accessedApr.2,2010).

15works,Gazzelloni'sfluteplayingstronglyinfluencedFukushima'scomposition.Thecomposerr

elates,Itisdelightfulforacomposertohaveagreatperformeraround.Gazzelloniisagreatfluteplay

er.Hewaseagertoofferhisopinionsandsuggestions.EverytimeIwroteanewpiece,hefoundoppo

rtunitiestoperformitandtakeitashisown.Gazzelloni'sperformanceofBoulez'sSonatineforflutea

ndpianoalsoinspiredme.Ifitwerenothim,Iwouldn'thavewrittensomanyfluteworks.24AlthoughF

ukushimabecamegraduallyknownandacceptedbyWesternaudiences,hisworksremainedlarg

elyunfamiliartoJapaneseaudiences.DuetohisabsencefromJapanintheearly1960s,hisworksw

ererarelyperformedthere.Fukushimawasnotwidelyknownasacomposerinhisnativecountryun

tilthelater1960s.LaterCompositionalCareerFukushimatouredextensivelythroughoutEuropea

ndNorthAmericaintheearly1960s.HeeventuallysettledinCambridgein1961.Whenhereturnedt

oJapaninJuly1963,hewasappointedasmusicprofessorattheUenoGaguenUniversityinTokyo.

TheJapaneseMusicArchiveattheUenoGaguenUniversitywasfoundedin1973,andFukushima

wasappointedasitsfirstdirector.24Fukushima,interview.25KazuoFukushima,NipponOngaku

shiKusamura["JapaneseMusicHistory"](Osaka:IzumiShoin,2007),755.

16Sincethen,Fukushima'smusicaloutputdecreasedsharply,andhismainfocusturnedtotheres

earchoftraditionalJapanesemusic.Ingeneral,hisresearchfocusesmainlyongagakumusic(liter

ally,"elegantmusic,"referringtoJapanesecourtmusic).AnotherofFukushima'scurrentfocusesi

sonChinesecourtmusicoftheTangdynasty(618-904),consideredoneoftheorigins??

gagakumusic.TheJapaneseMusicArchivewasrenamedtheResearchInstituteforJapaneseMu

sicHistoriographyattheUenoGaguenUniversityin2006.Fukushimabecamethedirectorofthein

stitute.TheinstituteisnowoneofthemajorarchivesofJapanesegagakumanuscriptsandservesa

stheleadingresearchcenterofgagakumusicinJapan.ThemostsignificantofFukushima'sworkfo

llowinghisreturnfromEuropeincludeTsukishirofororchestra(1965)andShun-

sanforflutesolo(1969).TsukishirowasselectedforperformanceattheForty-

firstWorldMusicFestivalofISCM(InternationalSocietyofContemporaryMusic)atPraguein1967

.Shun-sanwasperformedattheThirdGerman-

JapaneseContemporaryMusicFestivalinTokyoin1969.AfterRanjofororganin1977,Fukushima

stoppedcomposing.InAugust2007,aconcertentitled"TheFluteWorldofKazuoFukushima"was

presentedattheTokyoFluteConvention,featuringthemajorflutecompositionsofFukushima.For

thisspecialevent,Fukushimatranscribed26"SokaJiten:UenogakuendaigakuNipponOngakus

hiKenkyuujo[SokaCityEncyclopedia:theResearchInstituteforJapaneseMusicHistoriography

attheUenoGaguenUniversity],"SokaCityOfficialWebsite,http://www.city.soka.saitama.jp/

hp/page000014100/hpg000014068.htm(accessedApr.2,2010).

17hisveryfirstcomposition,Poesieininterrompueforviolinsolo,forflutesolo.MusicalStyleJapan

esemusiccriticTakashiFunayama(b.1941)dividesthestyleofFukushima'smusicintotwoperiod

s.ThefirstperiodcontinuesfromPoésieininterrompueof1953toMeiof1962,andthestyleisdescri

bedbyFunayamaas"dodecaphonictechniquewithOrientalmind."28Withtheterm"Orientalmind

,"Funayamamarksspecificreferenceto"NohmusicandBuddhistwayofthinking."29Thesecondp

eriodisidentifiedaslastingfromTsukishiroof1965toRanjoof1977.Funayamadescribesthestyle

ofthisperiodasFukushima'sdevotion"tothecultivationofJapanesesubjectswithafreerdiction."3

0FunayamaalsocriticizedFukushima'smusicinthisperiodas"lackingintheforceandenthusiasm

ofacreatorofnewmusic."31TheauthorwhosuppliedthelinernotestoCanadianflutistRobertAitke

n's1982recordingagreeswithFunayama'scategorization,andfurtherdescribesthestyleofFuku

shima'ssecondperiodasaperiodduringwhich"serialmethodshavebeenreplacedbyamoreconsi

stentrelianceonsonority,andbyalessinhibitedassociationwith¦j'ytraditionalJapanesemusican

dphilosophy."27Fukushima,interview.28Funayama,Ibid.29Ibid.30Ibid.31Ibid.32Authorunkn

own,notestoContemporaryFluteWorks.LP,Melbourne,SMLP4037(1982).

18Thiscategorization,however,isarguable.Fukushimadidnotadopttwelve-

tonetechniqueinhismusicuntilRequiemin1956.Poésieininterrompueforviolinsoloismorerelate

dtoMessiaen'smodes,andwhatMessiaencalled"rhythmswithaddedvalues."Fukushima'sperio

dofserialismisbettercharacterizedasstretchingfromRequiemin1956toHi-

kyoin1962.AlthoughtheymakenodirectreferencetoNoh-

theaterorBuddhism,theworksinthesecondperiodstillshowaconceptualrelationshipwithJapan

esephilosophy.TheinfluenceoftheseJapaneseculturesinFukushima'smusicwillbediscussedi

nlaterchapters.FukushimadoesnotobjecttothecategorizationbyFunayama,butoffersanaltern

ativepossibilityofcategorizinghisworks.HeconsidersalltheworksbeforeARingoftheWindof196

8ashavingbeeninfluencedbyhisexperienceofthewar,astheyallshareaheavyanddarkcharacter

.33Theprevailingthemesintheseworksareimagesofdeath,night,andspirits.FromShun-

sanof1969on,thecharacterofthemusicbecomesbrighterandmorevivid.AlthoughFukushimaex

pressesnoopiniononhowtoclassifythestyleofhislateworks,thethemesafterShun-

sanfocusmainlyonflowers,water,andbirds.ThesearesurprisinglysimilartothesubjectsofTake

mitsu's"gardenmusic"afterthemid-

1970s.34WhilethepresentdissertationadoptsFunayama'speriodicclassificationtoindicateace

rtain33Fukushima,interview.34Startingfromthemid-

1970s,manyofTakemitsu'sworksfeaturethesubjectofgardenscenes,suchasGardenRain(197

4),Waves(1976),RainTreeSketch{1982),RainComing(1982),AndthenIknew'twasWind(1992

),etc.

19groupofworks,theauthordoesnotacceptthemeaningsattributedbyFunayamatotheseperiodi

cclassificationsintermsofcompositionaltechniqueormusicalstyle.AsFukushimasuggested,th

eworksbetween1956and1962areconstructedusingWesterntwelve-

tonetechnique,andtheworksbefore1969areinfluencedbyhisownexperienceinwartime.Nosing

lecategorizationcanproperlydivideFukushima'smusicintoperiods.Thus,theauthorconsidersth

efirstperiod(1953-1962)asFukushima'searlystageandthesecondperiod(after1965)asPost-

Europe-

Tourstage.ThisdivisiondoesnotrelateFukushima'sworkstoanyclassificationinmusicalstyle.

20

Chapter II. The Influence of Japanese Culture in Fukushima's

Music

Fukushima'smusicisdeeplyinfluencedbyvariousaspectsoftraditionalJapaneseculture.Hiswor

ksrevealhisparticularinterestintheNoh-

theater,ZenBuddhism,andthereflectionofnature.Theseelementscanbefoundnotonlyinthecon

textualthemesofhiscompositions,butalsointheirformalstructures,musicalgestures,andperfor

mancetechniques.Fukushima,however,rarelyadoptsspecificperformancetechniquesorforms

characteristicoftraditionalJapaneseinstrumentsormusicinhisworksdirectly.Rather,heextracts

theconceptsoftraditionalJapanesecultureandconvertsthemintohisownlanguageofmusic.For

example,FukushimafrequentlyusestheconceptoftensionbuildingandreleaseinherenttotheJo-

Ha-KyuformofNoh-theater.MoredetailsaboutJo-Ha-

Kyuformwillbediscussedinthefollowingsection.Therearefewofhisworksthatcanbeclearlydivid

edintothethreesectionsofJo-Ha-

Kyu.However,almostallofFukushima'sworkspresenttheconcept??Jo-Ha-

Kyuinsomeway.ThereisagreatdealofinterplayandconnectionbetweenNoh-

theater,ZenBuddhism,andthereflectionofnature.Theinterplayisparticularlyobviousinthecentr

alityofnaturetoZenBuddhismandinthestronginfluenceofZenonthedevelopmentofNoh-

theater.TheseinterconnectionsareapparentaswellinFukushima'sobservationsofWesternmus

icandinhis

21descriptionofhisownmusicalaesthetic.InFukushima'sdiscussionofhisidealmusic,thereflecti

onofnaturebecomesprimary:Tome,theWesternmusicisartificial,andagainstthenature.Those

worksaregreat,butdifferentfromwhatIfeelthewaythatmusicshouldbe.Iwanttopursueawaythat

caninfusenatureandmusictogether,butnotseparatethemusicfromthenature.Therealmofsoun

dshouldbefeltwiththewholebody,notmerelytheear.Togivemorespecificexamples,thesoundoft

hetemplebellorthesoundofwindismoreclosetomyidealmusic.ThemusicinNoh-

theaterisalsomoreclosetothenaturethatIfeel.Inthischapter,Fukushima'sinfluencesareexamin

edindividuallyforthepurposeofclarity.Noh-

theaterNoh(Ib)isatraditionalJapanesestageartwhichemployssong,dance,musicanddrama.It

wasestablishedinitscurrentformbyKan-ami(1333-1384)andhissonZeami(1363-1443).Kan-

amisetupthebasicformoftheNohperformance,andZeamirefinedthetheoryandtheperformance

ofNohtoperfection.Noh-

theaterisoneoftheoldestsurvivingdramaticgenresinJapanaswellasintheworld.Fukushimaapp

liedthetheoriesandtheconceptsofNohtohismusic.Someofhisworks,moreover,makedirectrefe

rencetotheNoh-

theater.Forexample,Meiadoptstheperformancepracticeandcharacterofthenohkan.Nohkanis

aJapaneseflutethatistheonlyFukushima,interview.Dong-

LanWang,ZhenhunShiju:RibenGudianXijuNengGaimao["PoeticTheatre:theIntroductionofJa

paneseNoh-Theatre"],(Beijing:ChinaTheatrePress,2003),4-10.

22melodieinstrumentusedintheNoh-theater.Hisstageworks,OrpheusandChu-

u,combinesthesettingandstructureofNoh-

theaterperformanceintoWesternballettechniqueandtwelve-tonemusic.Jo-Ha-

KyuThemainformofNohperformanceisJo-Ha-Kyu{ff$$M)·Jo-Ha-

KyuisoneofthemostimportantformsinJapanesearts.Thistermoriginallyappliedtothecourtlymu

sicalformofgagaku(elegantmusic).TheconceptofJo-Ha-

KyuingagakuiswidespreadinmanyJapanesetraditionalartstoday,suchasNoh-

theater,kendo(thewayofthesword),haiku(aformofJapanesepoetry),andtheteaceremony.^Jo-

Ha-Kyu''literallymeansathree-

partformcharacterizedbytemposthatmovefromslowtofast.InNoh-theater,however,Jo-Ha-

Kyuisconsideredmoreaformoftensionbuildingandrelease.Jo(??),literallymeaning"introductio

n"or"preface,"isthebeginningpart.Thematerialinthispartissimpleandclear.Ha(5$),meaning"br

eak,"isthedevelopment.ThematerialpresentedintheJo-

sectionisfullydevelopedinthissection.ThemainfunctionofHaistocontrastthesimplicityoftheJo-

section.ThetempocanbeeitherfasterorslowerthanthatofJo-

section.Kyu(¡HOistheclosingpart.ThewordKyumeans"urgent,"butalsohasthemeaningof"sud

den."This

23sectionincludesadancescene,whichisusuallyfasterandstrongerthanthe//a-

section.TheHasectionendswithadefinitiveclosingsection.Theendingsectionisusuallycalmand

peaceful,andcontrastssharplywiththedancingscene.Figure2.1isavisualpresentationoftensio

nprogressionoftheJo-Ha-Kyuform.KyuHa*"JoFigure2.1.VisualPresentationofJo-Ha-

KyuForm.FukushimaadoptsmainlytheabstractconceptofJo-Ha-

Kyuinmostofhisworks.Thus,tempoisnottheonlyfactortobeconsideredinhisadoptionofJo-Ha-

Kyu.Materialsthatcanbemanipulatedtocreateprogressivetension,suchasdynamics,texture,a

ndcomplexityofmaterial,canalsobefactorsofconstructingJo-Ha-

Kyu.Thedynamicprogressionfromsofttoloudisamanifestationofbuildingtension.Theevolutionf

romathintoathicktextureandthemovementfromsimpletocomplicatedmusicalmaterialsalsorefl

ecttheconceptofincreasingtension.ItisnotnecessarythatthematerialsofFukushima'smusicbe

dividedinthreesectionstoconformtothe

24characteristicsofJo-Ha-

Kyu.Anymaterialortechniquethatexhibitsasenseofincreasingtensionissufficienttoreferenceth

eJo-Ha-Kyuconcept.TheplotsofNoh-theaterareexcellentmeanstoexplaintheJo-Ha-

Kyuconcept.ThestoryplotsofNoh-

theateraremostlybasedonastereotypicalstructure.IntheJosection,onlythesecondarycharacte

r,usuallyamonkorpriest,entersthestageasanarrator.Thesecondarycharacterprovidestheback

groundtothestoryandgivesadescriptionofthesurroundingenvironment.IntheHasection,thepri

marycharacter,usuallyagod,ghost,orspiritdisguisedasanormalmortal,entersandinteractswith

thesecondarycharacter.IntheKyusection,theprimarycharacterrevealshistrueidentityanddanc

esangrily.Thefuryoftheprimarycharacteriscalmedattheendofthesection,andthechorussingsa

chantofsalvation.TheconceptofJo-Ha-KyuintheNoh-

theatercanbeappliedtobothitsoverallstructureandtothesmallerunitsofthework.Inalectureabou

ttheNoh-theatergivenatDarmstadt,Fukushimastated,"EveryJo-Ha-

KyucanbefurtherdividedintoanotherJo-Ha-Kyu.Thisprocesscanbeextendedtothelastmicro-

unitoftheplay."37Theauthor'sanalysisofFukushima'smusicshowstheJo-Ha-

Kyuconceptoperatingsimultaneouslyatseveraldifferentlevels.ThethreemovementsofHi-

kyorepresenttheconceptsofJo,Ha,andKyu,respectively.InRequiemandMei,theJo-Ha-

Kyu37"JedesJo-Ha-KyuistweiterunterteiltineinanderesJo-Ha-

Kyu.DieseFolgereichtselbstbiszurletztenMikroeinheitderZeit."KazuoFukushima,"No-

TheaterundjapanischeMusik."InErnstThomas,ed.,DarmstädterBeiträgezurNeuenMusikIV,

(Mainz:SchottMusikInternational,1962),106.

25concept,especiallythesharpcontrastandthereleaseoftensionoftheKyupart,canbefoundwith

inindividualphrasesorsections.Example2.1istakenfromRequiem.duration:b.2.5+1.5+0.75a3

+2+111?GdynamicFbM.-,Mt3E^JJvi'i=^^iZZ=LjöT-c·2+0.75J.1.5+.0.75e.1-16+.G14^IAl^?

—?Gcresc.sf>p--===j^-==anipÖG^SExample2.1.Requiemforflutesolo,mm.11-18.

(©1966,SuviniZerboni)AlthoughthisexamplecannoteasilybedividedintothethreesectionsofJo

-Ha-Kyu,theconceptoftensionbuildingandreleasetakenfromJo-Ha-

Kyucanbeobserved.Therhythmicanddynamicshiftingofthisphraseservesasanexampleofthea

bstractJo-Ha-Kyuconcept.Theexamplealso

26showssmallerJo-Ha-

KyuelementsnestedwithinlargeronestowhichFukushimarefersinhiscommentabove.Thedyna

micbuildsfrompppallthewayXoffffasindicated.Inthelastmeasureofthisphrase,thedynamicleve

ldropssuddenlytoppp.Thedynamicevolutionshowstheconceptoftensionbuildingandrelease.T

hefirstnoteofunitainExample2.1isadottedhalf-note.Thefirstnoteofunit?isaquarter-

noteplusadottedquarter-

note.Asthephraseproceeds,thedurationofthefirstnoteofeachunitdiminishes.Inthelastmeasur

e,asthedynamicdropstoppp,thedurationofthenoteisadottedhalf-

notewithafermata.ThisevolutionofrhythmicprogressionalsoreflectstheJo-Ha-

Kyuconcept.Withineachunit,thegradualdiminishingofrhythmcanalsobeobserved.Thus,eachu

nitisalsocharacterizedbyasenseofincreasingtensiononmultiplelevels.Theinterdependentope

rationoftheseelementsiswhatFukushimameans"Jo-Ha-KyuwithinJo-Ha-

Kyu."Fukushima'sapplicationsofJo-Ha-

Kyuwillbeexaminedindetailinthelaterchapters.ExpressionandActioninNohInNoh-

theaterperformance,themaincharacterusuallywearsamask.ItisbelievedbyNohactorsthatthea

ctofcoveringthefacewithamasktransformstheactorintothecharacterheisabouttoplay.Inthisse

nse,theactofmaskingacquiresaritualaspect.IntheNohtradition,themasknotonlyservesasatool

ofdisguise,butalsoprovidesspiritualpowertotheactor.Inveryrarecases,the

27maincharacterdoesnotwearamask.Theabsenceofamaskiscalledahitamen(JUS)·Theactor

,however,stillhastomaintainaneutralfacialexpressionasifheiswearingamask.Thefacialexpres

sionoftheNohmaskiscalled"mediumexpression."Asavehicleofcompression,themediumexpre

ssioncondensesmanyexpressionswithinit.TheChinesescholarDong-

LanWangexplainsthattheconceptofmediumexpressioncanbevisualizedashow"aspinningtopl

ookslikeastillonewhenitspinstoitsupmostspeed."38Thewearingofamasklimitstheabilityofthe

Nohactortosee.Thus,themotionoftheNohactorismostlyveryslowandsubtle.Theactorconsiste

ntlywalkswithhisfeetclosetothefloor.ThepaceofmostofFukushima'scompositionsisgenerallys

low.HismostcommontempomarkingisLentorubato?

9Expressioninhismusicisalsosubtlebutcondensed,exceptforseveralsharpdynamiccontrastst

hatcomefromthetensionbuilding-and-releaseoftheJo-Ha-

Kyuform.The"mediumexpression"inhismusicresemblestheconceptofIchion-Jobutsu(-

^^ß^fA)describedbyZenBuddhism.Ichion-

Jobutsuliterallymeans"onesoundtoenlightenment."AccordingtotheJapaneseflutistAkikoShi

mada,thisconceptindicatesthat"asingletonepossesses38"PßJSitmmmmm±^iêM±-m."Dong-

LanWang,ibid.,42.39ThetempomarkingsofRequiem,Ekagra,KadhaKaruna,andallthreemove

mentsoiHi-

Kyo(includingMei)arealleitherLentoorLentorubato.AlthoughtheThreePiecesfromChu-

ubearnotempomarkings,thedefaulttempoforallthreemovementsisalsoLento.Morethanhalfof

Fukushima'scompositionsinhisfirstperiodaremarkedasLento.Duetothechangingofthenotatio

nsystem,thepiecesofhissecondperiodhavenotempomarkings,buttheyretainasimilarcharacte

r.Poésieininterrompueforviolinsolo(1953)isinaslow-fast-

slowternaryform.WhenFukushimatranscribedittosolofluteversionin2007,hepreservedonlyth

eslowsection,withthetempomarkingPresquelent.

28manykindsofexpressions,elements,andmeanings."40InFukushima'sflutepieces,asinglepit

chcanbesustainedforalongduration,withvariationsindynamicsand/

ortimbre.Thus,theconceptof"mediumexpression"or"Ichion-

Jobutsu"isexpressedintheselong,sustainednotes.ZenBuddhismZenisabranchofBuddhismth

atmixeselementsofChineseTaoism41andBuddhism.ItwasintroducedtoChinabyBodhi-

Dharma(382?-

532)inthefourthcentury.Fromthetwelfthtothefourteenthcentury,JapaneseBuddhistmonksvisit

edChinaandbroughtZenphilosophybacktoJapan.Sincethen,ZenhashadastronginfluenceonJ

apaneseculture,suchasinpainting,theteaceremony,calligraphy,Noh-

theater,andmanyotherformsofcultureexpression.DaisetzTeitaroSuzukisummarizestheconce

ptofZenas"non-

dependenceupontheletter,thatis,intellection,anditsdirectlyseizingupontheMinditselfwhichisR

eality."Agatha(apoeticverse)byHui-neng43(638-

713),themostinfluentialChineseZenmastersincetheseventhcentury,providesadeeperunderst

andingofZen:40AkikoShimada,"Cross-

CulturalMusic:JapaneseFlutesandtheirInfluenceonWesternFluteMusic."TheFlutistQuarterly,

34/2(2009):29.41TaoismhereindicatesthephilosophicalschoolbasedonthephilosophyofLaoZ

iandZhuangZiinthefourthcenturyBCE,nottheChinesefolkreligionofthesamename.Inbrief,theo

bjectiveofTaoismisanalignmentfollowwithTao(¡il,theultimatetruthoftheuniverse),andthepracti

ceofwu-wei(MJ|)ornon-

interference.Thesecanbeattainedthroughobservingandfollowingnature.42DaisetzTeitaroSu

zuki,"ZenBuddhism."MonumentaNipponica,1/1(1938):48.43SIb,theSixthandLastPatriarchof

ChineseZenBuddhism.ItwasheandhisfollowersthatmadeZenbecomeamainbranchofChines

eBuddhism.

29Bodhiisnotree,Norbrightmirrorastand.Nothingisreallythere,Wherecananydustland?

44Themeaningofthisgathaexpressesthatmanshouldnotbetrappedbyscripturesorexternalbou

ndaries,butratherlookintohisownmindtofindtheultimatetruth.InZenBuddhism,meditationisaco

mmonpracticefordiscoveringtheinnerreality.ManyofthetitlesofworksfromFukushima'sfirstperi

odfeatureBuddhistorSanskritterms.ThesetitlesdemonstratehisdeepinterestinBuddhismatthi

stime.EkagraandtheKadhatrilogyarethebestexamplesofFukushima'sBuddhist-

influencedworks.Beyondthetitles,manyofhisworksfeatureelementsthatareclearlyinfluencedb

yhisunderstandingofZenBuddhism.ThemostsignificantoftheseZen-

influencedelementsincludetheuseofsilenceandspace,andthoseconceptsassociatedwiththep

erformancepracticeandcharacteristictimbresofshakuhachiflute.SilenceandSpaceSpaceand

simplicityaresignificantcharacteristicsofmanyZenarts,suchaspaintingandcalligraphy.HugoM

unsterbergdescribesitthisway:"[toZenpainters,]inspirationwasnottheChi-

SingLam,TheZeninModernCosmology(Hackensack:WorldScientific,2008),2.TheoringinalC

hinesetextis

30resultofhardworkandcarefulplanning,butsomethingwhichcamesuddenly,likeaflashoflightni

ng."45Itisimpossibletoincludeallthedetailsofsuchamomentaryvisioninapainting.Thus,Zenpai

nterstendedtowardsimplicity,usingbrushstrokesthatcapturedessenceratherthandetail.Zenpa

intersalsoleftlargeportionsofthecanvasunpainted.Theunpaintedportionallowstheimagination

oftheviewertooperatemorefreely.Thespacealsoshowsthattheessenceofthepaintingisexpress

ednotonlybythebrush,butisshownaswellintheblankor"empty"portions.Theuseofemptinessor

opennessiscalledma(flfj).InFukushima'smusic,theconceptofmaisconveyedbysilence.Becau

semacanalsobeusedtoindicatetime,flutistMihokoWatanabegivesherinterpretationofmainthe

music:"[ma]referstotheexpressivespacebetweenmusicalphrases...

[itis]akeen,intuitiveawarenesscontainingsometension—

aperceptualsilence."46Itisnotjustthesilencewithinthemusicthatisconsideredasma,butalsothe

silencethatprecedesandfollowsthemusic.AsWatanabeobserves,"silenceshouldbeincorporat

edbeforeandafterthepiece,toshowthattheresonancestartstoformfromsomewhere,thendiesa

wayattheend."47Fukushimaexplainshisconceptofmamoreextensively:ma[is]acontrastingpro

positiondistinctfromrhythm(inthecontinoustime)...45HugoMunsterberg,"ZenmaArt."ArtJourn

al,20/4(1961):199.46MihokoWatanabe,"TheEssenceofMei:AnExplorationoftheInspirationbe

hindMeithroughInterviewswiththeComposer."TheFlutistQuarterly,33/3(2008):18.47Ibid.,18-

9.

31Thismashouldnotrelyonthephysical,biologicalorcorporealsenseoftime;itshouldbecaptured

ontheabsolute,intuitivesenseoftime.InFukushima'searlyworks,restsareoftenemphasizedbya

fermatatocreatethe"perceptualsilence"towhichWatanaberefers.Thisperceptualsilenceisexp

eriencedbythelistenerasmorethanjustshortspacebetweennotes.Inhislaterworks,ashestarted

toemploygraphicnotation,theconceptofspaceinthemusicbecomesclearergraphically(seeExa

mple2.2).wamfW8¦?.MLItupyfc«.?/reExample2.2.Suienforpiano,p.7.

(©1972,OngagunoTomoEdition)ShakuhachiandTimbraiVarietyShakuhachiisaJapanesevert

icalbambooflute.ItwasoriginallyusedasatoolforKazuoFukushima,"Stuffandcontentsincompo

sition,"Ongakugeijutsu,May1960,asquotedinFunayama,ibid.

32meditationpracticebytheFukeshu,49asubsectofJapaneseZenBuddhism.AftertheFukeshu

wasdisbandedbytheMeijigovernmentin1871,theshakuhachibecameafolkinstrumentplayedb

ythegeneralpublic.FormanyJapanese,however,shakuhachistillremainscloselyrelatedtothei

mageofZen.Thetonecolorsoftheshakuhachiarediverse.Theshakuhachihasfivefingerholes.F

ourofthemareonthefrontoftheinstrument.Thefifthisonthebackoftheinstrumentandiscoveredb

ythethumb.ThefivefingerholesonthestandardshakuhachiproducethetonesD,F,G,A,andC.Ino

rdertoobtainotherpitches,theperformerusesthetechniquesofmeriandkart.Merilowersthepitch

byloweringtheheadandraisingtheinstrument,andkariraisesapitchthroughraisingtheheadandl

oweringtheinstrument.Theperformerissometimesrequiredtopartiallycovertheholewiththefing

erwhileplayingmeriorkari.Byapplyingthesetechniques,theperformerobtainsvarioustimbresw

hileplayingdifferentpitches.Theconstructionofshakuhachiisdeceptivelysimple.Thesimplicityo

fitsconstruction,however,contributestotherichtimbraivarietyofwhichitiscapable.Whilemostof

Fukushima'sworksdonotreferdirectlytoshakuhachiperformancepractice,hisfluteworksdosho

welementsofshakuhachipractice,particularlywithregardtotimbraivariety.Fukushimadidnotbe

ginhisvastexplorationintimbraivariationofthemodernfluteuntilhissecond49ISKh^K,foundedint

hethirteenthcenturybyShichiKakushin(1207-1298).

33periodofhiscomposition.ItwasinShun-

san(1969)thathefirstpresentedthenumeroustimbraipossibilitiesavailabletotheflutethathehad

discovered.Inhisearlyworks,however,Fukushimadidshowsomeinterestindifferentflutetimbre

s.AsWatanabepointsout,inMei(1962)Fukushimausedvarioustimbraieffects,suchas"asomew

hatairytone,pitchinstability,gracenotes—alongwithharmonics(mm.25-26),flutter-

tonguing(mm.35and41),andkeyclicks(m.36)."50ThesetimbraieffectsinMeicanalsobefoundin

hisearlierfluteworks.ReflectionofNatureZenBuddhismisrootedintheconceptoffindingtheultim

atetruth(tao),whichisalwaysconnectedwithnature.Theconceptofnatureisanimportantcompon

entofZenphilosophy.ThesubjectsofZenpaintingsusuallyemphasizenatureelements,suchasm

ountainsandwaterfalls.TheconceptofnaturethushashadanotableinfluenceontraditionalJapan

eseculture.Watanabestatesthat"[o]neoftheessentialcharacteristicsinJapaneseartisthereflect

ionofnature,inwhichnothingcanbecreatedthatnatureitselfcannotcreate."51Thesubjectsofma

nyofFukushima'ssecondperiodworksareobviouslyrelatedtonature.ThetitlesSuirinandSuienr

efertowater.KashinandKaeirelatetoflowers.Shun-sanisahymntoMWatanabe,19.51Ibid.,18.

34spring.Otherthantheseobviousreferencestonature,Fukushima'smusicshowsthereflection

ofnaturethroughsuchdevicesasasymmetryandacertainorganicnature.AsymmetryAsignifican

tdifferencebetweenclassicalWesternartandJapaneseartisthatwhileclassicalWesternartspurs

uesymmetry,Japaneseaestheticstypicallyfollownature,inwhichperfectsymmetryisrare.Thesy

mmetryinclassicalWesternartscanbefoundinmusicalform,sculpture,painting,andingardende

sign.Regardingmusicalform,Westernmusicalforms,suchassonataformandthedacapoaria,ar

eclearlysymmetricalintheirproportions.Forexample,sonataform,themostimportantforminWes

ternmusicoftheClassicalera,includesthreesections—

exposition,developmentandrecapitulation.Thethreesectionsofsonataformcreateasenseofsy

mmetryandbalance.Therecapitulationprovidesacounterweighttotheopeningexposition.Witht

hedevelopmentinthemiddle,thethreesectionscreateasymmetricalstructure.Bycontrast,theJa

paneseJo-Ha-

Kyuformischaracterizedbyincreasingtensionterminatedbyabruptcalmnessattheend.Figure2.

2illustratesthesonataformandtheJo-Ha-

Kyuforminavisualpresentationtoshowthedifferenceinstructuralconcepts.

35a.SonataFormExpositionDevelopmentRecapitulationb.Jo-Ha-

KyuFormFigure2.2.SonataFormandJo-Ha-

KyuForm.ThephrasesofWesternclassicalmusicaretypicallyorganizedwithmeterandbarlines.

Thelengthofthephraseisregularandpredictable.Forexample,thefour-

barphraseisoneofthemostcommonones.InFukushima'smusic,thelengthofthephraseistypicall

yirregular.InEkagra(1958),themetersshiftbackandforthbetween3/4and4/4tocreateatemporal

asymmetry(seeExample2.3).InMei,thephrasesusuallystartwithvariousrests.Thenotesarefre

quentlytiedoverthebarline.Theusualmetricalfunctionofbarlinesisthusundermined(seeExampl

e2.4).Therestsemphasizedbythefermataalsoblurthesenseoftheregulatedentryofthephrase.I

nthelaterworkssuchasSuien,ARingoftheWind,andShun-

san,barlinesandmeterarecompletelyabandoned.Theregularityofpulseandtimecreatedbybarli

nesandmeterisnolongeroperative(seeExample2.2).

36NSmy*^Flau/£L—Jjp-i1..,3*Pi;/iVIT?

j.j¿OTp*ÊPP2«*P*r^Example2.3.Ekagraforaltofluteandpiano,mm.17-20.

(©1964,SuviniZerboni)Lentoerubatow?-PP^m*?*SLMjL...m?=£?fPPtf-

Example2.4.Meiforflutesolo,mm.1-6.

(©1966,SuviniZerboni)OrganicNatureFukushima'sflutemusicalsoreflectsnaturethroughanex

tremelygradualdevelopmentofmusicalmaterials,suchasphrases,timbre,pitch,pitchset,andco

mplexityoftexture.Thesubtledevelopmentofthesematerialscanbeconsideredasakintoanorga

nicprocess.The"organic"natureofmusicisnotexclusivetoJapaneseculture.Forexample,motiv

esandphrasesinRichard

37Wagner's(1813-

1883)lateroperasfrequentlyundergoaprocessofgrowthandexpansion.Wagner'sprocessofmo

tivegrowthalsoisoftendescribedas"organic."TheorganicnatureinFukushima'smusic,however,

isexpressedinmoreaspectsthanthese.TheorganicnatureinFukushima'smusicincludesthedev

elopmentofpitchsetsandtimbre.Suchan"organic"approachtothegradualdevelopmentofmusic

almaterialscanbeseenasFukushima'sintentiontoreflecttheconceptofnatureinmusic.InRequie

m,themanipulationbetweentone-

rowsandmusicalphrasescanbeconsideredasareflectionoftheorganicnatureinmusic.Thegrad

ualexpansionofpitch-

setmotivesinMeialsoshowsFukushima'sorganicapproachtodevelopmusic.Otherthanthegrad

ualprogressionindynamiclevelandpitchmaterial,Shun-

sanemploystheevolutionoftimbreasanotheraspectofFukushima'sorganicism.Alltheconcepts

andaestheticsdiscussedinthischaptercanbeconsideredbroadlyasareflectionofnature.Thepri

ncipalintentionofZenBuddhismistofollowthepathofnature.TheNoh-

theaterisapracticalpresentationofZenphilosophyindramticform.Fukushimaincorporateselem

entsfromthesetraditions,eitherdirectlyorindirectly,tocomposehisidealmusic.Inthefollowingthr

eechapters,theauthorexaminesFukushima'sthreesolofluteworksfromananalyticalperspectiv

e.Bysuchanalysis,theauthorfurthershowshowtheconceptsandaestheticsofnaturediscusseda

boveareincorporatedinFukushima'smusic.

38

Chapter III. Requiem

Background

Requiem (1956) for flute solo is Fukushima's second composition. It is also his first serial

piece. With the appearance in 1923 of Five Piano Pieces, Op.23 by Arnold Schoenberg

(1874-1951), the twelve-tone method became an important procedure of Western art

music in the first half of the twentieth century. Although the method was introduced in

Japan as early as the 1930s, it was nothing more than a theoretical subject discussed in

the musical journals. It is not until the 1950s that Japanese composers started to apply this

technique in their compositions. After the presentation of his first work, Poésie

ininterrompue for violin solo, Fukushima encountered difficulties in continuing his

compositional career. He wrote later in his program notes for the concert in 1997, "after

the presentation of Poésie ininterrompue, Iencountered the predicament that I could not

find any ideas for my new work. I left the Kobo in order to stay alone Cland think it over by

myself." Keijirou Satoh premiered his first twelve-tone work, Five Poems for piano (1953)

at the Jikken Kobo chamber music concert in July 1955. At the time, only a few Japanese

composers outside the Kobo, such as Makoto Moroi (b.1930) and Minao Shibata (1916-

1996), wrote twelve-tone music. Their music, however, employed dodecaphonic procedure

as established by Anton Webern (1883-1945) and Arnold Schoenberg. Satoh, on the other

hand, avoided the concept of traditional twelve-tone technique, which considers the

technique as an objective procedure. Instead, he manipulated the twelve-tone row in an

organic fashion. The innovation of Satoh's work inspired Fukushima. One year after

Satoh's work was presented, Joji Yuasaand Fukushima discovered a treatise about

twelve-tone counterpoint by Ernst Krenek (1900-1991) at the Yamaha Music Company.

They studied the twelve-tone method it described and tried to compose new pieces based

on this model. The result of this study is Requiem. It represents Fukushima's first attempt

at composing with this technique. His full understanding and mastery of the technique are

apparent in his third work, Ekagra for alto flute and piano (1957). Requiem was not publicly

presented until 1959. It served as a prologue fo rFukushima's stage work Orpheus, based

on the story of Orpheus and Eurydice. Orpheus is a staged work for two actors, a chamber

choir, and seven instrumentalists (flute, clarinet, piano, and string quartet). It combines

classical ballet technique and traditional Japanese Noh drama. Orpheus was first

presented in January 1959 in the concert entitled "Two Stage Works and Chamber Music."

On the same concert, Fukushima also premiered another of his stage works, Chu-u.

Requiem was first performed in 1963 as a free-standing piece in Stockholm by Severino

Gazzelloni. The Japanese title of the Requiem is Chinkonka. The idea of Chinkonka differs

slightly from the Western concept of a requiem. The Western requiem memorializes the

dead and offers repose to the soul. As a traditional Japanese ritual, Chinkon calms and

settles the wandering spirits and souls of the dead. Due to his experiences during the war,

Fukushima sees the souls of the dead as restless spirits that need to be calmed. In his

notes about Requiem, Fukushima writes, Growing up during the war had a huge impact on

me. The word "chinkon" has two different meanings, "to evoke the spirits" and "to calm the

spirits." The character of my Requiem is closer to the second meaning. This is probably for

the reason that I mentioned previously [growing up during war time].

The Tone Row Structure

Requiem utilizes a very simple twelve-tone technique. Only four rows out of the complete

matrix of forty-eight rows are used. They are TO, ToI, RTO, and RToI. The primary row (D

F F# E Eb C G B C# Bb A Ab) is shown in Example 3. The most significant feature of this

tone row is that the intervals between consecutive notes are mostly small. Except for the

C-G (descending perfect fourth) and G-B (ascending major third) in the middle of the tone

row, all the other intervals are no larger than a minor third (see Table 3.1). Thus, the tone

row may produce both a smooth, conjunct melody and a disjunct, agitated one. Also, the

extremely asymmetrical structure of this tone row distinguishes it from many classic

Western twelve-tone works. Many Western works, such as those of Webern, show a

characteristic symmetry in their tone row structure. The operation of the tone-row in

Requiem also shows Fukushima's intention to setup a different way of using the twelve-

tone technique. In the works of classic twelve-tone composers, such as Schoenberg and

Webern, the tone rows are treated as a tool. The tone rows do not necessarily have a

close relationship with the musical phrase. Fukushima, on the other hand, considered the

tone row as an organic element. The tone rows coincide approximately with the musical

phrases at the beginning of the piece (see Example 3.2). By lengthening or shortening the

duration of the tone row, tension is created in the music. He creates continuity in the work

by having the phrases slightly diverge from the tone row. A phrase may end without

completing the statement of the tone-row, and the following phrase begins with the

concluding pitch of the tone row. Another phrase may present a complete tone-row and

end with the first pitch of the following tone-row. This tendency of having musical phrase

coincide with the tone row is clearly obvious in the works for solo flute since they do not

operate in the vertical dimension. This concept also appears as well as in those twelve-

tone works that do involve harmony, such as Three Pieces from "Chu-u" for flute and

piano (1960). As the music goes on, the interaction between the tone rows and musical

phrases becomes more and more complicated. The growing complexity thus creates

musical tension. The manipulation of the tone row to create musical tension and continuity

will be discussed in the next section.

Formal Structure

Requiem can be divided into three sections based on the tone rows that are used. The

formal structure is illustrated in Table 3.2. The second row of the table indicates the phrase

structure. Different letters are assigned to different musical materials. The third row shows

the progression of the tone rows. The numbers in parentheses present the length of the

tone rows or the phrases. For example, TO (3.5 8) means the row TO is three-and-a-half

measures plus one eighth note triplet in length. The table shows that phrase structure

mostly coincides with the progression of the tone row in the first section of the music. The

interplay between the phrases and the tone rows in Sections II and III is more complicated.

The simultaneous coherence and diversity of elements creates multiple layers in the

music. These invisible layers thus make the monophonie texture more interesting. Section

I consists of only the primary row To repeated three times. Such direct repetition of a tone

row is rare in conventional twelve-tone music. However, Fukushima is able to create great

diversity within simplicity, a main feature of this piece. The three identical rows construct

three phrases of different lengths. The three phrases appear identical in their basic

structure. When they are examined closely, subtle differences become apparent. The first

phrase is only three measures in length. Nevertheless, it is the main resource of Section I.

It provides the most fundamental materials for the piece, including the primary tone row

and the contour segment motive (C S E G ) (see Example 3.3). This phrase includes

eleven out of the twelve pitches of the primary row. The absent twelfth pitch can easily be

deduced. The series is laid out clearly in the phrase. No pitch is repeated except for the trill

in the third measure. The first four pitches D – F – F# E – if one considers the F-sharp as a

chromatic ornamentation —form the C S E G <120>. The C S E G <120> is the basic cell

of this piece The contour of the next three pitches Eb – C –G is C S E G <102>, the

inversion of C S E G <120>. The second phrase in this section (mm.4-6) is a variation of

the first phrase. Example 3.4 shows the basic melodic structure of the second phrase. The

notes that are omitted from the reduction are those comprising the chromatic and arpeggio

- like ornamental materials. The main contour of the second phrase is closely related to the

first. This phrase contains a complete primary row, with the addition of the last pitch from

the previous row and the first pitch of the succeeding row. All the pitches of the tone row

are presented in the simplest way. No pitch or pitch fragment in 560 is the lowest note in

the segment. The third phrase involves the most complicated presentation of the row in

this section. It features two unbalanced sub-phrases. The first sub-phrase is found in mm.

7-10, and the second in mm. 11-18. Mm. 7-10 utilizes only three pitches from the tone row.

Contour-wise, the sub-phrase resembles that of the first half of the main resource, the first

phrase of this section. The contour of the three pitches, F – F # –E, is C S E G <120>. This

is exactly the same as the contour motive of the very first four pitches of this piece. The

space of the motive here, however, has been extremely compressed. Mm.11-18, by

contrast, contains an expansion of the second half of the first phrase. The contour of the

three pitches in the beginning of this sub-phrase, Eb – C - B, is the same as the Eb – C –

G C S E G <102> in m. 2. The repeated alternation between Bb and A in mm. 14-16 is

analogous to the B – C# trill in m. 3. Also, the serial order is modified in this presentation of

the tone row. The position of pitches 7 and 8 in the serial order is exchanged. Through this

operation, the original Eb – C – G fragment in mm.11 -13, which has exactly the same

pitch content as the analogical part in m. 2, is replaced by Eb – C - B. The modification

thus creates more variety than the mere unadorned repetition of material. Section I, in

brief, is comprised of three repetitions of the primary row and the melodic gesture of the

first phrase. With each repetition, the melodic materials are varied, and the tone row is

offset slightly. Each presentation is similar but varied. The unity and diversity exhibited in

Section I foreshadow the main concept of the whole piece.

Section II is constructed by inverting the primary row and repeating it twice (see Table

3.2). The tone rows in Section I, with the exception of the third presentation, are presented

in their simplest form. By contrast, the tone rows in Section II feature more fragmentary

repetitions. Table 3.3 illustrates the basic structure of Section II. The second row of the

table shows the fragmentary repetitive structure of the tone-row in this section. The

number in parentheses are the serial order of the members of the tone-row. They are

followed by a number indicating the repetitions of the fragment. The third row of the table

shows the pitches of the tone-row that comprise each phrase.

The interaction between the tone rows and musical phrases is also more complicated than

it is in Section I. In Section I, each tone row coincides approximately with one phrase. By

contrast, the first tone row in Section II includes two musical phrases, and the second tone

row extends into Section III. The contour motives here are also derived from those found in

mm. 1-3. As in Section I, the first five measures of Section II (mm.19 - 23) present the

basic materials of this section (see Example 3.5).

All of these basic materials are taken from phrase al in Section I. The contour of the

beginning D – B – C is C S E G <201>, the retrograde inversion of CSEG <120>. The set

of the last three-pitches-motive D – B – Bb is exactly the same as the last three pitches in

m.3, C# – Bb – A. The fragment here, however, is transposed a semitone higher. The

chromatic ornamental note Bb in m. 21 relates the CSEG <201> material in mm. 19 – 21

more closely to the opening CSEG <120>. There are only two basic contours for any three

different pitches, <012> and <021>. It is the chromatic ornament inserted into this contour

fragment that makes this motive distinctive. Example 3.6 illustrates the manner in which

this motive appeared in Section I and Section II. The chromatic ornament is placed in a

different place each time it occurs. The constant migration of the ornament also shows

Fukushima's intention of creating diversity within unity. The beginning D – B – C fragment

is presented incompletely here. However, the chromatic ornament Bb remains. Thus, mm.

24-25 is still recognizable as the analogue of mm. 19-21. Starting from the third beat of m.

25, the descending motive D – B – Bb is broken by the inserted pedal tone C. The A – F –

Eb fragment in mm. 29-30 simply expands the interval sizes of the D – B – Bb motive and

serves as an extension of the second phrase of Section II. The first ToI row in Section II

thus expands to a length of thirteen measures and includes two phrases. Mm. 32-36 is a

restatement of mm. 19-23. Similar to mm. 19-23, mm. 32-36 only utilizes six pitches of the

TOl row. The second ToI row in Section II thus serves as the connection between Section

II and Section III. On one hand, the two sections are separated by operation of their

motives and a quarter-rest emphasize by a fermata. On the other hand, the two sections

are connected through the unity of the tone row. The unity of the tone row is especially

obvious as the tone row is treated organically by Fukushima.

Section III begins with a continuation of the TOl row from the previous section. It consists

of one statement of RTO and one of RToI. As stated previously, the quarter-rest with a

fermata in m. 36 clearly demarcates Section II and III. The more straight forward

presentation of the tone rows in the third section differs from the fragmentary presentations

of the second section. The layout of the tone rows in Section III is more closely relate to

Section I. That is, no pitch or the fragment in the tone row is repeated. The interaction

between the phrases and the tone rows, however, is the most complicated in the three

sections. Mm. 37-39 includes the last six pitches of ToI row and the first two pitches of

RTO row. The Ab in m. 38 functions as a pivot tone between the two rows. The use of a

pivot pitch or pitches to serve as a connection between two rows is not unusual in classic

twelve-tone composition. The tone rows chosen by Fukushima in Requiem are sufficient

for this manipulation. However, this is the only time in this piece that Fukushima adopts

this technique. This technique reates an unbreakable continuity of the two rows.

Furthermore, mm. 37-39 is similar to mm. 1-3 in contour. These three measures thus

provide the illusion of a recapitulation of Section I. The musical phrase in mm. 40-47

features two sub-phrases (see Example 3.7). Mm. 40-41 is a phrase constructed by two

small fragments beginning with the CSEG <021> motive. Mm.42-47 is a coda. The tone-

rows here do not coincide exactly with any structural elements as they do in previous

sections of the piece. In classic tonal theory, the term "harmonic rhythm" indicates the

pace of chords moving from one to another. The author would like to apply a similar

concept here to describe the pace of the pitches moving from one serial order to the next.

The actual rhythm in mm. 40-42 is not the most complicated one in this piece. The tempo

of the serial – order rhythm, however, is the fastest in the entire piece. The pace of the

rhythm and the serial-order rhythm slows dramatically in m. 42. The slow section marks

the coda of the music. Because the last tone row of the piece is RToI, the last pitch class

of the piece is exactly the same as the very first pitch. It is, however, placed in a different

octave. Also, the last three pitches Bb – B – D reveal again the beginning contour motive

CSEG <120>.

The Japanese Influence Jo-Ha-Kyu Application

The Jo-Ha-Kyu concept can be found on different levels in Requiem. Not only does the

overall tone row structure show the Jo-Ha-Kyu concept, but each section is also

constructed according to the Jo-Ha-Kyu form. Several musical phrases are also influenced

by Jo-Ha-Kyu. Requiem is constructed of seven iterations of the four basic rows: three To

rows, two ToI rows, one RTo row and one RToI row. To row is the fundamental row in the

tone-row matrix. As the music progresses, Fukushima manipulates the rows by means of

increasingly complicated operations, including inversion, retrogression, and retrograde

inversion. The tension of the music is thus built up through these operations. The decrease

in the repetitions of each row also adds to the sense of increasing tension. The interaction

between the tone rows and musical phrases also presents the concept of tension building.

In Section I, statement of the tone-row largely coincides with phrase structure (see

Example 3.2). However, the beginnings and endings of the phrases are slightly offset with

the progression of the tone-row. The three phrases of Section I are connected to each

other by only one pitch from the previous or following tone-row. These pitches serve as

couplers to connect the phrases. Despite the connection, the musical phrases here remain

more distinct and isolated than those in the following sections. The connecting section

expands as the music moves on. The two layers, the tone rows and musical phrases,

become progressively more inter twined (see Example 3.7). Because of the inter twined

layers, the phrases exhibit an unbreakable integrity at the end of the piece. The

progressively intersection of the two layers reminds us of an organic process. The first

phrase of each section is invariably the simplest. The second phrase of each section

features a more complicated rhythm, as well as a louder dynamic. The end of each section

is marked by as harp dynamic contrast, as the dynamic drops to the softest level of that

section. The dynamic and the rhythmic evolution of each section matches the Jo-Ha-Kyu

concept. The Jo-Ha-Kyu concept in mm. 11-18 has been examined in Chapter II. This can

also be found in a number of other phrases, such as mm. 4-6. In mm. 4-6, although the

dynamic development offers no clues about the Jo-Ha-Kyu concept, the rhythmic evolution

shows the concept clearly (see Example 3.8). The phrase starts with a slower rhythmic

pattern and becomes more agitated in m. 5. In m. 6, the held note is elongated by a

fermata.

A symmetrical Structure

The classic twelve-tone works by Webern and Schoenberg are usually characterized by

symmetrical rows. By contrast, the row used in Fukushima's Requiem is extremely

asymmetrical. The length of each presentation of the row differs considerably. With several

three – and five – measure phrases, phrase length here also differs from the more

characteristic Western phrase construction of four -, six -, or eight – measure phrases.

Western metric concepts, however, are still clearly evident in Requiem. Most of the

phrases in Requiem begin on the strong beat of the measure. The basic pulse of the beat

is sensible. Some notes, however, are tied over the bar lines. These ties blur the regularity

of Western metric structure. The blurring of Western metrical devices is shown in a more

daring way in Fukushima's later works.

Silence and Space

In Fukushima's early works, the fermata is often used to emphasize silence and space.

Several fermatas in Requiem are used in this manner. These fermatas are mostly utilized

in such a way as to distinguish a phrase or section. A fermata over a rest or bar line

emphasizes the silence desired in between phrases or sections. The fermatas over the

held notes stretch the space within or in between phrases.

Performance Suggestions

Fermatas and Pauses

There are thirteen fermatas in Requiem. Tora Takemitsu used three different symbols to

indicate different length of the fermatas. Contrastingly, Fukushima used only a standard

fermata in Requiem and all of his other works. The performer, however, can interpret the

intention of the composer in each case by examining the structure of the phrases and by

being alert to other hints within the music. Fukushima marks every necessary breath

carefully in Requiem. Thus, breath markings and the rests are important resources which

help determine the appropriate length of the fermata. Maintaining the integrity of the

motive or phrase is another important consideration. The fermata on the bar line after m. 6

is the first fermata to be considered here. This fermata is placed at the end of the second

phrase of Section I (mm. 4-6). The analogical part in the first phrase is the fermata over

the eighth rest in m. 3. Both fermatas mark the end of the musical phrase. The fermata

after m. 6, however, does not emphasize a rest. Thus, the silence here should be shorter

than in m. 3. The fermata in m. 10 is placed on the last note of the sub-phrase, mm. 7-10.

Mm. 7-10 is only a sub-phrase of the third phrase of Section I, mm. 7-18. The fermata in

m. 10, thus, should not be emphasized as much as the fermata over the D in m. 6, which

is the last note of the second phrase of Section I. The fermata in m. 10 should only be

considered as a slight prolongation of the pitch E. The musical phrase needs to proceed to

the next measure without breaking its momentum. The third phrase does not end until m.

18. As it marks the end of Section I, the fermata in m. 18 should be emphasized above the

preceding ones. This approach applies as well to the fermata in m. 36, which marks the

end of Section II. The double slash on the bar line after m. 27 can give the mistaken

impression that the music stops here or adds a space before the next pitch enters. The

material here, as has been discussed in the previous analysis, is the motive D – B - Bb.

The B in m. 27 leads into the Bb in m. 28. The double slash here does not indicate a

pause. Rather, this double slash merely indicates the end of the acceleration that began at

m. 25. The fermata in m. 28 is another problematic one. This fermata is not placed at the

end of a phrase or a sub-phrase, but on a transition note into the expanded motive A – F -

Eb. There is no rest or breath mark between the emphasized E and the following

materials. The function of the crescendo under the E is to lead into the next measure.

Thus, the fermata in m. 28 is marked to indicate the increasing tension. The length of the

fermata in m. 28 should be determined in order to maintain the integrity of the phrase. As

the next breath marking does not arrive until the end of m. 30, the performer should

measure his or her air carefully to ensure he or she has enough air to finish this phrase. If

breathing is necessary in this phrase, the performer can take a quick breath after m. 29.

However, the integrity of the phrase needs to be preserved. The fermatas after m. 42 mark

the "salvation and calmness" section of the Jo-Ha-Kyu formin Section III. The frequent

breath markings allow the performer to take his or her time and to establish the change of

the mood and the timbre. As there is no slowing of tempo marked here, starting from m.

44, the performer should maintain the original tempo. By so doing, the ending motive

should be clearly audible.

Trill

There is only one trill in Requiem. The trill in m. 3 is not an embellishment. Rather, it is an

important component of the tone row. The B and C# are the eighth and ninth pitch classes

in the tone row, respectively. In order to present the tone row in its correct order in the first

presentation, the B - C# trill must start on the pitch class B. To make the tone row even

clearer, it is also advisable that the performer begin the trill slowly and gradually increase

the speed, as Fukushima did mark poco ritard in m. 3.

Harmonics

There are several fingering options available for the harmonics in mm. 42-43. However,

different fingerings create different timbres. The performer is free to use the fingering of his

or her choice to create the desired timbre. The A5 harmonic has only one fingering

available, which is the fingering of D4. The choice of fingering for the E6 harmonic

therefore needs to match the timbre of the A5 harmonic. Two options are available, which

are the standard fingerings for E4 and A4. The timbre of the A4 fingering is brighter and

flat. The E4 fingering matches the timbre of A5 better, but the intonation is also flat. The

author suggests using the E4 fingering, but moving the right-hand little-finger to the C key

instead of the D-sharp key to adjust the pitch. There are also two options available for the

C6 harmonic in m. 43, which are the fingerings of C4 and F4. The author suggests the

fingering of C4 here for the reason mentioned above. The suggested fingerings are shown

below in Table 3.4.

Tempo Fluctuations

Although the tempo marking Lento rubato suggests a free tempo, the tempo fluctuations of

this piece are carefully marked. The fermatas, ritard and accelerando markings ensure the

feeling of rubato. In later works, Fukushima will gran this performers much more latitude of

interpretation. However, he marks his intentions clearly here. As discussed previously, one

of the primary intentions for this piece is to convey "diversity within unity." The rhythm and

the pitch content in the music is different each time a motive or phrase recurs. Following

the exact rhythm in a steady tempo helps to reveal the diversities. If the variation between

the recurrent motives and phrases is subtle, then a too liberal use of rubato or elongation

tends to blur the differences between them. The exact duration of tempo change markings

such as accelerandi and ritardandi is indicated by the use of a dotted line. The performer

should resume the tempo as soon as the dotted line ends. For example, the ritard in m. 5

lasts only to the end of the measure. M. 6 should return to the original tempo. The same

approach should be applied throughout. M. 28 should be played in the original tempo, as

should m. 31. In this way, the integrity of the motives and phrases is preserved.

Dynamics

A continuous crescendo from ff is indicated starting in m. 27 through m. 29. In order to

make the crescendo more efficient, as well as keeping the integrity of the phrase, the

author suggests to crescendo from the beginning of m. 27 to the C# in m. 28. The

performer then can drop the dynamic down to/and build up the dynamica new. There is no

dynamic level indicated from m. 37 to m. 40. The performer should continue the /?

Dynamic indicated at m. 34. In later works, having attained greater degree of composition

alfluency, Fukushima marked dynamics more comprehensively than he does here.

Chapter IV. Mei

Background

Mei(1962)isthesecondmovementofFukushima'sHi-

kyoforflute,piano,percussionandstrings.Meiisthebest-

knownofFukushima'sworks.Itisalsoconsideredtobeamongthemostimportantcontemporaryflu

terepertoire.Hi-

kyo,publishedin1963,isdedicatedtotheflutistSeverinoGazzelloni.Whenthesecondmovement,

Mei,waspublishedin1966asanindividualpiece,itboretheadditionaldedication,"Me/

isdedicatedtoWolfgangSteineckethroughthefluteofSeverinoGazzelloni."Inthesummerof196

1,FukushimawasinvitedbyDr.WolfgangSteinecketogivealectureentitledNo-

theaterundjapanischeMusikattheSixteenthInternationaleFerienkursefürNeueMusikinDarmst

adt(August29-

September10),Germany.Steineckewasthefounderofthefestivalandthedirectorofthesummerc

ourses.Atthetime,theDarmstadtfestivalwasoneofthemostimportantnewmusicfestivalsandals

othecenterofserialmusic.SteineckewasanimportantfigureinFukushima'searlycareer,muchint

hesamewayasStravinskyhadbeen.58StravinskyplayedacentralroleinintroducingFukushima'

smusictoAmericanaudiences,andSteineckebrought58KazuoFukushima,notestoContempor

aryJapaneseFluteMusic.CD,Columbia-Denon,COCO-70817—>8(2005).

63FukushimaintoEuropeanmusicsociety.Duringthe1961summercourses,GazzelloniaskedF

ukushimatocomposeanewpieceforhim.FukushimafirstmetGazzelloniinApril1961whenGazze

llonitouredJapanwiththeDarmstadtensemble.ImpressedbyFukushima'smusic,Gazzellonias

kedFukushimatorearrangehischamberworkKadhaKarunatofluteandpiano.Fromthatpointon,

GazzellonicontinuedtointroduceFukushima'sfluteworkstoEuropeanaudiences.59InDecemb

er1961,FukushimareceivedtwolettersathisnewhouseinCambridge,England.OnewasfromGa

zzelloni,whowrotetosaythathewouldliketopremierethecommissionedpieceattheTwenty-

fifthInternationalFestivalofContemporaryMusicinVeniceinApril1962.Theotherletterbroughtn

ewsofDr.Steinecke'sdeathinatrafficaccidentonDecember23.Theseeventsledtothecreationof

Mei,apiecetomemorializeDr.Steinecke.MeiwasfinishedinMarch1962.ItwaspremieredinTeatr

oLaFeniceonApril23byGazzelloni.Atthesamerecital,GazzellonialsopremieredKadhaKarunaf

orfluteandpianowiththepianistFredericRzewski(b.1938).Aftertherecital,Fukushimawasintrod

ucedtoapublisher'srepresentativeandagreedtohavetheMilanesefirmofSuviniZerbonipublish

hisfluteworks.InJuly16ofthesameyear,MeiwaspresentedinDarmstadtbyGazzelloni.Aboutthis

performance,59Funayama,ibid.

64JapanesemusiccriticYasushiTogashiwrote,"thefluteworkMeigotthewarmestapplauseofall

concertsinthepastninedays."60JapanesecriticTakeshiFunayamaalsocommentedthatMeiwa

soneofthemostbeautifulJapanesecontemporarymusicpieceswrittenaftertheSecondWorldWa

r.AfterthefirstperformanceofMeiin1962,GazzellonisuggestedthatthecomposerexpandMeitoa

largerwork.ThecompleteHi-

kyowasthenfinishedonOctober13ofthesameyear.TheChinesecharacterofthetitleHi-

kyoiswrittenasMM-

Thetitleliterallymeansa"flyingmirror",aphrasethatimpliesthefullmoon.Coincidentallyorotherwi

se,October13,1962happenedtobeanightofthefullmoon.TheprefaceofthescoreofMeireads,"T

heChinesecharacterofMeiiswrittenasH,meaningdark,dim,andintangible."62InitsoriginalChin

esemeaning,thecharacterMeicanalsoindicatetheworldofdeathasitisunderstoodintraditionalC

hinesecosmology.63InthetraditionalJapanesebelief,thesoundoffue—

awordusedtoindicateflutesofalltypes—

canreachtheworldofdeath.ThefollowingphrasesareprovidedbyFukushimainhisprogramnotes

forMei:Thesoundoftheflutecanreachboththisworldandthatworld,hoveringbetween60"37?-—

h^o°p{{{%)))fi,YtIa-CiD^B?$&?????±(????&?£<????

0"YasushiTogashi,"Darmstadtshinongakukouzanishussekishite[AttendingtheNewMusicCo

ursesinDarmstadt]"inOngakugeijutsu(October,1962),asquotedinNihonSengoOngagushiKe

nkyukai,eds.,ibid.,383.61Funayama,ibid.62"MEI,checonideogrammicinesesiscriveSsignific

aoscuro-pallido-intangibile."KazuoFukushima,Meiperflautosolo(1962)

(Milano:SuviniZerboni,1966).63Inthisconceptofanafterlifeexperience,thesoulofadeadperson

takesuptemporaryresidenceinamulti-

layeredzone.Thesoulinthisworldissubsequentlyrebornintoanotherphysicalexistence.

65thetwoworlds...thispieceisjustlikeitstitle,Mei:dim,far,andreceding,calmlymeditatinguponth

eunconsciousnessoftheUniverse.Thesephrasesprovideacluetounderstandthemeaningofthis

work.Althoughtheseobservationsarebothmetaphoricalandmetaphysical,theperformerwould

dowelltocontemplatethemasheorsheundertakesaperformanceofMei.StructuralAnalysisMeii

sthemiddlemovementofHi-

kyo.Thetwooutermovementsbearnospecialtitle,butaresimplymarkedasHi-kyoIandHi-

kyoIIrespectively.ThestructuralinformationforthethreemovementsissummarizedinTable4.1.

Thesecondmovement,Mei,inthepublishedscorewasmisprintedbythepublisher.Beforethepre

mierofHi-

kyo,GazzelloniwroteFukushimaalettertosuggestomittingtheopeningsectionofMeitoobtainab

etterbalanceofthecompletework.FukushimathustookoutthefirstfifteenmeasuresofMei.Thepu

blishedscore,however,includesthecompleteMeiasthesecondmovementofHi-kyo.f?

SLT,S5??^^????

^"KazuoFukushima,notestoKazuoFukushima:WorksforFlute.LP,Columbia-Denon,OX-

7136-ND(1978).Fukushima,interview.

Table4.1.StructureofHi-

kyo.66TitleofthemovementTempomarkingSoloinstrumentRegisterofsoloinstrumentDynamic

rangeHi-kyoI34measuresLentoAltofluteG3-F6PP-

Wf)Mei51measuresLentoerubatoFluteC4-C7PPPP-fffHi-

kyoII30measuresLentoAltoflute66B4-F#6(beforem.26)B3-F#6(afterm.26)(mp)mf-

fffportamentoSpecialeffectsportamento,quarter-tones,flutter-tonguing,key-

click,multiphonicportamento,flutter-tonguingStringorchestraN/

AEnsembleinstrumentationStringorchestra,PianoPercussion(timpani,cymbals,sidedrum,ten

or67xdrum,bassdrum,Naruko)OfthethreemovementsofHi-

kyo,Meiisthemostdistinct.Itistheonlyunaccompaniedmovementofthethree,yetitcontainsthem

ostvarietiesinitsdynamicrange,registrairange,andtimbreofthesoloinstrument.Itisalsothelong

estmovement.Table4.2outlinesthestructureofMei.Bycomparingthestructures??Hi-

kyoandMei,manysimilaritiescanbefoundbetweenthepieceasawholeanditsmiddlemovement.

BothHi-

kyoandMeiareconstructedbyternaryconstruction.MeiiscastinanABAform,andthethreemove

mentsofHi-

kyoalsoshowthecharacterofABA66ServerinoGazzelloniperformedthismovementonpiccoloo

ntherecordingTheNewMusicVol.3(RCA,1968).Thepublishedscoreandsolopart,however,indi

catethatthethirdmovementistobeplayedonaltoflute.Inordertoplaythismovementonpiccolo,Ga

zzelloniplayedsomefragmentsanoctavehigherthanprinted.Thismodificationwasapprovedbyt

hecomposer.67NarukoisaJapanesewoodenclapper.

67constructionintheirinstrumentationandmusicalmaterials.Thus,Meicanbeconsideredasare

ductionofthecompleteHi-kyo.Table4.2.StructureofMeLA(mm.1-15)15measuresB(mm.16-

51)35measuresA(mm.52-

66)15measuresTempomarkingLentoerubatoPiùmossoMenomossoRegistrairangeC4-

B5C4-C7C4-B5DynamicrangePP-fifff)ppp-fff(PPPP)PP-/

iff)Specialeffectsportamentoquarter-tonesportamentoquarter-tonesflutter-

tonguingkeyclicksmultiphonicsportamentoquarter-

tonesMeiiscastinastandardWesternABAform.BothAsectionsarefifteenmeasuresinlength,an

dtheBsectionisthirty-fivemeasures.ThelengthyBsectioncanalsobedividedintofoursub-

sections(seeTable4.3).ThecontentsoftheAandBsectionsaredistinct,asisshowninTable4.2.Ex

ceptforsomeminormodifications,thetwoAsectionsarealmostthesame.TheBsectionnotonlyco

ntrastswiththeAsections,butalsoshowscontrastbetweenitsfoursub-sections.

68Table4.3.StructureofSectionBinMei.Bl(mm.16-26)B2(mm.26-

35)B3(mm.36^3)B4(mm.44-51)Registrairange(B4)C6-B6C4-E6(Bb6)(C#4)D4-D6(C7)C4-

B6Dynamicrangefff-mf{ppp)decrescendoppp-mfifj)crescendo(ppp)pp-fffundulatingppp-

McrescendoNotationVerificationBeforetheauthorbeginstoanalyzethepieceindetail,someofF

ukushima'snotationsandpitchesneedtobeclarified.Alloftheaccidentalsinthemusicapplyonlyto

theindicatedoctave.Forexample,thegracenoteinm.17isC-natural,notC-

sharp.Fukushimadoesnotplaceanaturalsignbeforehechangestheaccidentalsign.Thegraceno

teFfinm.7isaquarter-sharpupfromF-

natural,whichis5.5whennotatedintheintegernotationsystem.TheFjinm.9isaquarter-

flatdownfromF-

natural,whichis4.5.Therestmaybededucedanalogously.TheAglissandouptoAjinm.61isamisp

rint.FukushimastatedthatthefigureshouldbeaBbglissandodowntoA|,69exactlythesameasitsfi

rstappearancepartinm.12.Gazzelloniperformstheglissandointhisfashiononhis1968recording

.68Intheintegernotationsystem,alltheenharmoniesaretreatedasthesamenumber.Cisassigne

dtheinteger0,Csharp/

Dflatis1,etc..Thequartertonehereisassignedthedecimal0.5.However,forreasonsofconvenien

ce,theauthorretaintheterm"integernotation."69Watanabe,ibid.,19.

69TheQuasi-Tone-

RowStructureSinceRequiem(1956),themajorityofFukushima'sworksinhisfirstperiodweretwel

ve-

tonecompositionsthatgenerallyfollowdodecaphonicprocedureasestablishedbySchoenberga

ndhisfollowers.Mei,ontheotherhand,canhardlybeconsideredasastandardtwelve-

tonework.Itisneverthelessclearlyinfluencedbythetwelve-

tonemethod.Inherarticle,"MeiforflutesolobyJapanesecomposerFukushimaKazuo,"Hui-

MeiChenwrites,ThetechniqueusedbyFukushimaisnotasstrictasSchoenberg'stwelve-

tonemethod,butismorerelatedtotheserialmusicthroughoutthe1960s.Heconsideredthetonero

wtobearationaltechniquetoconstructthemusic,andappliedamuchfreertonerowtechnique.Che

npointsoutthateachsectionorsub-

sectionfeaturesanaggregateofpitches.Themusicmovestothenextsectionwhenallthepitchclas

sesintheaggregatehavebeenused.Themanipulationofthepitchesintheseaggregatesissimilart

othemanipulationtypicallyencounteredinthetwelve-

tonemethod.Example4.1showstheaggregateofeachsection.Thepitchesareshownaccordingt

otheorderoftheiroccurrence.Thenotesarenotatedintheirexactoctave.Thefilled0^Ëfà^wm^®ïï

BWËfà®im+r.^wmmïm&·m^m^^^o^ixmim^mmmHui-

MeiChen,"MeiforsoloflutebyJapanesecomposerFukushimaKazuo—

ananalysisfromamusicologicalpointofview,"in2007ChueijhutansihGuanyuepianJiaoshihsyu

eshujumvunYantaohueiLumvunji[Dissertationsfrom2007ConferenceforTeachersofWindInst

ruments],editedbyYungwenTsai(Taipei:NationalTaiwanUniversityofArts,2008),46.Chennam

esthecomposerinconventionalAsianstyle,whichisthefamilynamefollowedbythegivenname,a

sopposedtotheWesternstyle,whichisthegivennamefollowedbythefamilyname.

70notesaretherecurrentpitchclassesthatserveastructuralfunction.Thequarter-

tones,inthiscase,areconsideredbyChenasequivalenttotheirclosestdodecaphonicpitch.Forex

ample,bothFjandFJ,areconsideredequivalenttoF.Aggregate1:SectionA(mm.1-15,mm.52-

66)ZZTZ^1234567891011Aggregate2:SectionBl(mm.16-26)^-(*)«·)fe£^=^b=£k\±

(Ï)123456Aggregate3:SectionB2(mm.26-35).J2.wtí-,P^——1-

a=#1234567891011Aggregate4:SectionB3(mm.36-

43)_______________aV'¦&teZCOZZ=ttgo\

>oEp^1234567891011Aggregate5:SectionB4(mm.44-51)%zz\^±?~_=a~zz—bo\>»m*—ß

—*"s-

123456789101112Example4.1.PitchAggregatesinMei.Theaggregates1,3,and4containonlye

levenpitchesoutoftwelve,butthetwelfthpitchcan

71easilybederived.Aggregate2containsonlysixpitches.However,itslayoutasachromaticscale

predictsthearrangementoftheremainingpitches.Theonlyaggregatethatincludesalltwelvepitch

esisaggregate5,thelastsub-

sectionoftheBsection.ThisisnotthefirsttimethatFukushimashowedaninterestinaneleven-

pitchtonerow.ThefirstphraseofRequiemdiscussedinChapterIIIalsoincludesonlyelevenpitche

softheprimaryrow.InKadhaKarunaforfluteandpianoandThreePiecesfrom"Chu-

u"forfluteandpiano,thetwelfthpitchofatonerowisalsoeitherdelayed,hidden,orevenomitted.Inth

ethirdmovement??Chu-

u(seeExample4.2),thetonerowoftheflutepartincludesonlyelevenpitches.Thetwelfthpitch"B"is

delayeduntiltheendofthispieceinthepianopart.ThelowBinthepianopartalsobelongstotheRT9r

owinthepianopart.Thetwelfthpitchoftheflutepartcanthusbeconsideredcompletelyomitted.Toa

listenerorperformeraccustomedtoserialmusic,presentingonlyelevenpitchescreatesanatmos

phereofexpectingapitchthatdoesnotexist.Thiscanbeunderstoodasamanifestationofma.Ma,m

eaning"space",indicatesemptinessoropenness.Theconceptofmainthemusicispresentednoto

nlythroughthesilence,butcanalsobeshownthroughtheabsentpitchdiscussedhere.Thetwelfthp

itchdoesnotactuallyexist,butitallowstheimaginationofthelistenertocompletethetonerow.

72TOFlutePiano/C\It=*o-^S7\gtg^sW5&'^TN/7\^m"jJ?-^"^<*/^T8M»-/T\T8>-W—!—3=*k/

53.J.?J^V=P"RTF^-£--P-yt^T^?-'M»1S¦îEa.mBExample4.2.TfcreePiecesfrom"Chu-u",III.

(©1964,C.F.Peters)

73Theabsentpitchisusuallypresentedintheneighboringsectionsasanemphasizedpitch.Themi

ssingCftinaggregate1isthecentricormostimportanttoneintheaggregate2.TheabsentGinaggre

gate3functionsasasustainednoteinaggregate4,andisalsofoundintherelativelyweakC-

Gmultiphonicinaggregate2.ThepitchAmissingfromaggregate4isthelastheldnoteofaggregate

3.TheCftemphasizedbydurationinaggregate5completesaggregate1whenitreturnsintheseco

ndAsection,whichhasthesamepitchaggregateasthefirstAsection.Thetwelve-

tonecollectionsarecompletedeitherbytheremainingimpressionoftheprevioussection,orbythe

notesemphasizedinthefollowingsection.Pitch-ClassSetStructureInconsideringthepitch-

classsetaspect,theset3-

1(012)isthemostbasiccellofthispiece.Thesetgrowsorganicallyasthemusicmovesandservesa

sthebasicmaterialforthemusicthatfollows.Whilethequarter-

tonesaretreatedbyChenasmembersofthedodecaphonicsystemintheprevioustone-

rowstructureanalysis,analysisofthesetstructurebythepresentauthorsuggeststhattheybeconsi

deredhereasindependentunits.Thequarter-

tones,moreover,serveasthe"activator"ofthegrowingset.Theprocedureof"growing"thepitch-

classsetsmostlyliesinthefirstAsection(mm.1-15),

74andtheprogressisverysubtle.ThebasicschemeofthefirstAsectionissimplyanascendingchro

maticscale(seeExample4.1,aggregate1).Withtheinsertionofquarter-

tonegracenotes,thebasicset3-

1(012)expandstocreatenewsets,ascanbeseeninExample4.3.3-1(012)3-1(012)^mÔ?-?

f1¿=£Üfi¿yr3<*—^9.'(0,1,1.5,2)-?4-2(0234)/2PrimeForm:4-

2(0124)72*mi=±feExample4.3.Pitch-SetStructureofMei,mm.1-8.

(©1966,SuviniZerboni)Inthefirstsixmeasures,themusicisconstructedsolelyofthebasic3-

1(012)set.Thesetexpandsforthefirsttimeinmm.6-8(seeExample4.3).Disregardingthequarter-

tonegracenoteinm.7,thesegmentisalsoasimple(012)fragment.However,withtheadditionofthe

Ffgracenote,thesetthenbecomes(0,1,1.5,2).Bymultiplyingeachmemberofthesetby2,thesetb

ecomes(0234),whichis4-

2(0124)initsprimeform.Fortheconvenienceofmarkingtheset,theauthor

75arbitrarilymarkstheset(O,1,1.5,2)as(0234)/

2(seeFigure4.1).Allthesetsincorporatingwithquarter-

toneswillbemarkedinthesamemanner.NormalForm:Set(0x2,1x2,1.5x2,2x2)Set(0,2,3,4)Set(

0,1,1.5,2)==(0,1,1.5,2)PrimeFormofSet(0234)/2:Set4-

2(0124)Figure4.1.DesignationfortheSetwithQuarter-ToneThenextfragmentinmm.8-

9istheset(013)/2.Theset3-

2(013)istheprimeformof(023),whichcanbederivedfromtheprevioussegmentifthelastsixteenth

noteBisdisregarded.Thesegmentinmm.9-

11isaset(0123),acombinationof(012)and(013).WiththepitchB,thesegmentbecomestheset(0

1236).Mm.12-15includesthesets(0126)/

2and(0346),thelatterofwhichis(0236)initsprimeform.Thereisnonewmemberintroducedinthes

etwosets,whichsimplycombinepreviousmaterials(seeExample4.4).

76dkÄhaEmn—¿·(013)3-2(013)/2:derivedfrom4-2(0124)rrr(012)(0I3)LjSg)5-4(01236)4-

5(0126)/2:derivedfromset5-413C\C\£H'iJ-(0346)--*>Primeform4-12(0236):derivedfromset5-

4Example4.4.Pitch-SetStructureofMei,mm.7-15.

(©1966,SuviniZerboni)Intheprocessofexpandingthesets,alloftheactivatorsaremerelyagrace

noteorasixteenthnote.Ifoneisnotlisteningcarefully,itmightsoundasifthemusicalfragmentsarec

onstructedsolelyoftheoriginalmaterials.However,weseehowthegrace-notequarter-

tonestakeonaprominentroleintheexpansionofthesetsusedinthefollowingsegments.Theconce

ptofsettheorywasfirstintroducedbytheAmericancomposerHowardHanson(1896-

1981)inthe1960s.ItwasfurtherdevelopedbytheoristssuchasAllenForte(b.1926)inthe1970s.S

ettheorywasonlyinitsinitialstageofdevelopmentbythetimeMeiwascomposed.The

77theory,however,canprovideinsightintoFukushima'sconceptofexpandingmaterialsinasubtl

eway.ThematerialsintheBsectionseemmorecomplicated,buttheyaremostlytakenfromtheAse

ction.AcompletesketchofsetstructureintheBsectionisprovidedinExample4.5.Mm.16-

25areomittedherebecausethesectionismerelyachromaticscale.Thechromaticscaleisconstru

ctedsolelywiththe3-1(012)set.3-2(013)/225^m???*=&??is4-5(0126)3-8(026)W.28¦SC???

pg^l^ai?31^-???(???,??3:Cr3-8(026);?\chromaticscalefragment'????33#tEiS?

ii•N^Example4.5.Pitch-SetStructureofMei,mm.25-48.(©1966,SuviniZerboni)

785-4(01236)3-1(012)?—3'35FT3ÏÏ=É3-1(012)3-9(027)3-5(016)5-10(01346)3-2(013Ì3-

2(013)_393-3(014)3-5(016)??f?%13-4(015)ft4-5(0126)m%3-4(015)A#·Wî*3-2(013)724-

5(0126)4-5(0126)(¡IBIiË^I1^3-7(025)3"2<013)3-1(012)Example4.5.(continued)

79ThestructureofMeiisnotconstructedbyasinglesetoralimitednumberofsets.Rather,itincludes

fifteendifferentsets.Nosinglesetbecomesmoreprominentthantheothersbyfrequencyofrepetiti

on.Theseeminglycomplicatedpitchstructureofthepiece,however,isderivedfromthefirstsetinthi

spiece,theset3-1(012).Thefirstnewsetotherthanset3-1(012)is4-2(0124)

(seeExample4.3).Theset4-2(0124)isconstructedbyaddingagracenoteF|.Theothernewset,5-

4(0123),isbuiltbyaddingasixteenth-

noteBattheendofthefragment(seeExample4.4).Othersetsareeitherthesubsetofanexistingset

oracombinationoftheexistingsets.TheprocessofexpandingsetsinMeiisgradualandsubtle.The

subtleandgradualdevelopmentofmusicalmaterialsreflectstheorganicnatureoìMei.Thus,itserv

esasanexampleofhowFukushimainfuseshismusicwiththeconceptofnature.Rhythmic/

PulsationalStructureTherhythmicstructureofMeiisdifficulttorepresentsystematically.Intraditio

nalJapanesenotation,themusicisnotatedbymnemonicsyllables.Studentslearnthemusicbylist

eningandmemorizing.Therhythmisthusnotindicatedprecisely,butonlyapproximately.Toreplic

atethisperformanceinWesternnotationcreatestremendousvarietyinrhythmicduration.Fukushi

ma'sattemptstoreplicatethissortofperformancepracticecanalreadybefoundinRequiem.Meish

ows

80thisconceptevenmoreclearly.TherhythminthetwoAsectionsissimilarbutnotidentical.Triplet

sarewidelyusedtoblurthemetricpulse.Theprevalenceoftiestendstoweakenthefunctionofbarlin

es.Thetendencyofthepulsation,however,canstillbeobservedbydepictingtherhythmicstructure

asalinegraph(seeFigure4.2).ee•sta*·*S"sProgressionoftheattacksFigure4.2.LineGraphofthe

RhythmicStructureofMei.Theterm"pulsation"usedherebytheauthorindicatestherelativedurati

onbetweenattackedpitches.Thedurationbetweenattackedpitchesiscreatedeitherbytheuseofr

estsortiednotes.Theauthorarbitrarilyassignsthisdefinitiontotheterminordertodistinguishitfrom

theconceptoftempo.Thepulsationgoesfasterwhenthedurationbetweenemphasesgetsshorter

.Itslowswhenthedurationgetslonger.Thechangeinpaceofthepulsationhasnorelationshipwithc

hangeof

81tempo.Figure4.2showsthedurationoftheattacksinMei.Theverticalaxisisthelengthoftimebet

weeneachattack,andthehorizontalaxisistheprogressionoftheattacks.AgeneralU-

shapecontourcanbefoundineachsectionexceptfortheB3section.TheshapeoftheB3sectionfor

msaW-shapefigure.TheU-

shapefiguresareindicatedbyadottedlineinFigure4.2.Ifoneconsiderstheprotrusioninthemiddle

oftheB3section,thesustainedB,asatemporaryrestpoint,thegeneralshapeoftheB3sectionalsof

ormsaU-shapecontour.ThisU-

shapecontourindicatesthatthepulsationofeachsectionbeginsslowly,increasesspeed,andthen

slowsdown.Anotherobservationcanbemadebycomparingthehighpointofeachsection.Therate

ofpulsationbecomesprogressivelyfasterintotheB4section.ThesustainedhighBattheendofthe

B4sectionisasignificantclimax.Itisthelongestnoteinthispiece.Aftertheclimax,themusicreturnst

oaslowerrateofpulsation.AlthoughthetwoAsectionsareequalinlengthandhavethesamepitchc

onstruction,adistinctionintermsoftheirpulsationcontourscanstillbemade.WhilethefirstAsectio

ncontainsmoreattacksandmorenotesofalongerduration,thepulsationlineinthesecondAsectio

nissmoother.ComparedtothejaggedlineofthefirstAsection,thesmootherlineshowsthatthepuls

ationofthesecondAsectionissteadier.Althoughitdoesnotcontainasmanylongnotesasthe

82firstAsection,thesecondAsectionexpressesamoresteadyandcalmmood.TheJapaneseInflu

enceTheMusicofNoh-

theaterInhisinterviewwithWatanabe,FukushimapointedoutthatMeimakesreferencetoNoh-

theater.TheinfluenceofNoh-theaterisevenmoreobviousinthetwooutermovementsofHi-

kyo,Hi-

kyoIandII.Theinstrumentationandthemusicallanguageofthesetwomovementsareverysimilart

othehayashi,theinstrumentalensembleusedintheNoh-

theatre.Hayashiincludesfourinstruments,nohkan(flute),ko-tsuzumi(smallhanddrum),o-

tsuzumi(largehanddrum),andtaiko(drum).Nohkanistheonlymelodicinstrumentintheensemble

.Thepercussionplayersgenerallyutilizetwobasicrhythmicpatternswithkakegoe(thevocalcalls)

,suchas"Ya,""I-ya-a,""Ha-a,""Yo-oi,""Han-ha"and"Hon-ya-a."71InthetwoHi-

kyomovements,althoughtheensembleincludesstringsandpiano,theinstrumentsareusedbyFu

kushimainamorepercussiveway,suchasusingpizzicatoonthestrings.Thematerialsintheense

mblepartincludeextremelychromaticclusters.Theseclusterscreateanun-

pitchedtimbrequality.Thus,theyresembleapercussionsound.Thesoloaltofluteistheonlyinstru

mentthatplaysalinearmelodyinanyofthe71AcomprehensivediscussionoftheHayashiensembl

eanditsuseinNoh-

theatercanbefoundinWilliamMalm'sTraditionalJapaneseMusicandMusicalInstruments(Toky

o:KodanshaInternational,2000),133-141.

83movements,justasthenohkanistheonlymelodicinstrumentinhayashi.Mei,asanunaccompa

niedmovement,conveysmoredirectlythecharacterofthenohkan.Themelodyisconstructedbas

edontypicalnohkanmelodicpatterns.NohkandancemusicintheNoh-

theaterhasfourbasicmelodicpatterns.ThepatternstranscribedbyWilliamMalmareshowninExa

mple4.6.Asthereisnodefinitetuningpitchonthenohkan,thepitchesandtheintervalsareapproxim

ate.Ornamentationsareaddedduringtheactualperformance,andtheornamentationsvaryfroms

chooltoschool.ItisobviousthatthemelodyelementsinMeiaretakenfromthesefourbasicpatterns

bycomparingthem.Ryonochufi)VVM/"V—»KanF^WLf,ifflr^fttiKannochuj,Prl·ru-

vExample4.6.TheFourBasicNohkanDancePatterns,asTranscribedbyWilliamMalm.72Willia

mMalm,TraditionalJapaneseMusicandMusicalInstruments(Tokyo:KodanshaInternational,2

000),135.

84Thenohkanismadebycuttingawell-

driedbambootubeintoeightstripsandturningthetubeinsideout.Thebarkofthebamboo,whichist

heharderside,isontheinsideofthepipe.Anarrowerbambooboreisinsertedinbetweentheblowin

gholeandthefingerholes.Becauseofitsunusualconstruction,overblowingthenohkandoesnotal

waysproduceaperfectoctaveliketheWesternflute.Overblowingonthenohkanproducesirregula

rintervalsthatvarybetweenaseventhtoaninth.Theseparticularintervalsthusconstituteimportan

telementsoftheBsection.TheselargeintervalsintheBsectionusuallyresemblethecharacteristic

overblownintervalsofthenohkan.Fukushimadeliberatelyusesthesecharacteristicsinthismove

menttostrengthenitsconnectiontotheNoh-

theater.Intermsofinstrumentation,thismovementdoesnotasdirectlyresembletheNoh-

theaterensembleasdotheothertwomovementsofHi-kyo.Jo-Ha-KyuApplicationTheJo-Ha-

KyuformisthefundamentalconceptofNoh-theaterdramaticstructure.AsHi-

kyomakesdirectreferencetoNoh-theatre,theJo-Ha-

KyuconceptisthemainsourceofthestructureoíHi-kyo,includingMei.ThethreemovementsofHi-

kyoshowtheJo-Ha-

Kyuforminaveryliteralway(seetable4.1,p.66).ThefirstmovementistheJopart,withclearertextur

e,softerdynamics,andsimplermelodic

85materials.Thesecondmovement,Mei,changestoanunaccompaniedtexture.Thismovementi

scharacterizedbyanincreasedrhythmicandmelodiccomplexity.Itcontrastsmarkedlyincharact

erfromthefirstmovement.Thus,MeiaptlydemonstratestheconceptoftheHa,thepartofchange.T

hethirdmovementhasthemostcomplicatedtexture.Thecomplexityofthismovementisaccompli

shedbyusingalltheinstrumentssimultaneously.Thedynamicrangeofthethirdmovementremain

smostlyinthelouderpartofthespectrum.Thereisadistinctcodaafterm.26.Therhythmicmaterialb

ecomessimplerthanintheprevioussection.Theregistrairangeinthecodaalsoexpandstoencom

passthelowregister.Followingandcontrastingtheintensityofthemovementwithasimple,calmco

dacreatestheKyupartoftheJo-Ha-

Kyuform.AsFukushimasuggestedthatthethirdmovementcanalsobeplayedonthepiccolo,thein

strumentationalsoexhibitsanincreaseoftension.TheformofMei,althoughastandardWesternA

BAform,stillrevealstheJo-Ha-

Kyuconcept.Asmentionedinthepreviousparagraph,thepulsationofMeibecomesmorerapidlea

dingintotheB4sectionandslowsagainattheendoftheB4section(seeFigure4.2).Theprocessofc

hangingpulsationinMeishowstheconceptoftensionbuildingandreleasecharacteristicoftheJo-

Ha-Kyuform.Moreover,theU-shapefigureineachsectionshowninFigure4.2alsoreflectstheJo-

Ha-Kyuconceptoftensionbuildingandrelease.

86AsymmetryandIrregularityIncomparingthephraseandrhythmicstructuresofMeiandRequie

m,oneseesthatFukushimaalmostignoresthefunctionoftheWesternmetricsysteminMei.InMei,t

hephrasestructureissometimesoffsetwiththeactualmetricmarking,whichindicatesa4/4beatthr

oughoutthepiece.Forexample,thephrasethatbeginsinm.4beginsonthethirdbeatwithatripletei

ghth-rest,andthenextphrasethatbeginsinm.6beginsonthelasteighth-

noteofthemeasure.Withtheoffsettingofthesephrases,theperceptionofstrongandweakbeatscr

eatedbytheWesternmetricsystemnolongerexists.Whetherthebeatisstrongornotdependsonth

earticulationmarkingsonthemusic,notontheindicatedmeter.Themeter4/4markingseemstobef

ororganizationalpurposesonly.ThetiesoverthebarlinesfurtherblurtheconventionalsenseofWe

sternmetricsystem.InMei,forty-twooutofthesixty-

fivebarlinesarestrippedoftheirfunctionbytheties.ThepulsationinMeithusdoesnotconformtoWe

sternmetricregulation.Fukushima'sstatementduringhisinterviewwithWatanabeaffirmshisdeli

berateabandonmentoftheWesternmetricsystem.Hesaid,"onceyouhaveinternalizedthemusic

,pleasedonotthinkaboutthebarlinesorcountingbeats,asifyouarelookingatadiagram."73Inhisla

ter73Watanabe,23.

87works,Fukushimaadoptedgraphicnotation.Theconceptinthisstatementisthusliterallyputint

opractice.SilenceSimilartotherestsinRequiem,severalrestsinMeiareemphasizedbyfermatas.

Comparingtheserestswithfermatas,oneseesthattherestsinRequiemrangebetweenaneighth-

restandaquarter-rest,whilethoseinMeirangefromadottedeighth-resttoahalf-

rest.TheconceptofstretchingspacebecomesclearerinMeithanitdoesinFukushima'searlierwor

ks,suchasRequiem.Therestswithoutfermatasserveasimilarfunctionofcreatingspaceinthemu

sicastherestswithfermatas.FukushimaplacedmanymorerestsinMeithanhedidinRequiem.The

durationoftheserestsisrarelyrepeated.Asthedurationofalmosteveryrestisdistinct,theserestscr

eatethestrongimpressionofspontaneityinthespatialatmosphereofthework.Thischaracteralsor

eflectsFukushima'srequesttonotreadthemusicasifonewerelookingatadiagram.Fukushimaals

oremarkedwithregardtoMeithat"theperformanceshouldbeuniqueeverytime,withtheperformer

'sownintensity,becauseperformersandlistenersareinteractingatthemoment."74TherestsinM

ei,withorwithoutfermata,actuallyexpresstheconceptofspaceandsilenceinavery74Ibid,23.

88sensitiveway.Thesespacesshouldbefeltbytheperformerwiththeirownintensityaccordingtot

heirinteractionwiththesurroundingenvironment.AlthoughhedoesnotusegraphicnotationinMei

,Fukushima'scarefulnotationclearlydemonstrateshisintentionthatthismusicisconceivedgraph

ically.PerformanceSuggestionOnTimbreBecausetheconstructionofthenohkanrequiresputtin

gthebarkontheinsideofthetube,thetimbreofthenohkanisclearandpowerful,especiallyinthehig

hregister.Theinsertedboreinthethroatofthenohkanallowsittoproduceshrillandpiercingpitches.

IntheNoh-

theatre,usuallyatthebeginningortheendofaninstrumentalmusicsection(thedancemusic),ahig

hpitchcalledhishigiisplayedbythenohkan.ThehishigigesturecanbefoundfrequentlyintheBsect

ionofMei.ThesustainedhighBinmm.48-

51undoubtedlyreflectsthehishigieffect.OthersustainedhighnotesintheBsectionalsoshowhishi

gieffects.Inordertomatchthetonequalityofthenohkan,whichisthemaintonalreferenceofMei,the

Westernfluteperformerneedstoplaywithfasterairspeedandhigherairpressure.Thisisespeciall

ytrueintheBsection.Aneffectivewaytogainthecorrectconceptofthenohkantimbreis

89tolistentonohkanperformanceintheNoh-

theatreandexaminethedifferentcharactersofitsperformanceinthesingingandthedancesection

s.OntheGraceNoteGestureTheapproachtoperforminggrace-

noteinMeidifferssignificantlyfromtraditionalWesternfluteperformancepractice.Itisusuallytheg

racenotesthatareaccentedinMei,ratherthanthenotestheyareornamenting.Theseaccentedgra

cenotesusuallyformlargeintervalsleadingintothemainnotes(seeExample4.7).«¿IPE<f¦ffTf7st

*f*m-Example4.7.TheAccentedGraceNoteGestureinMei,mm.37-38.

(©1966,SuviniZerboni)Wemayconsidertheselarge-

intervalgracenotesasanevocationorrepresentationoftheoverblowingeffectscharacteristicofth

enohkan.Becauseoftheconstructionofthenohkan,thesizeoftheintervalsproducedbyoverblowi

ngvariesconsiderably.Thevariously-sizedlarge-

intervalgracenotesaptlyshowthecharacterofthenohkan'soverblownnotes.Thelowerpitchisthu

sthe< p=""></f¦ffTf7st*f*m-Example4.7.TheAccentedGraceNoteGestureinMei,mm.37-38.

(©1966,SuviniZerboni)Wemayconsidertheselarge-

intervalgracenotesasanevocationorrepresentationoftheoverblowingeffectscharacteristicofth

enohkan.Becauseoftheconstructionofthenohkan,thesizeoftheintervalsproducedbyoverblowi

ngvariesconsiderably.Thevariously-sizedlarge-

intervalgracenotesaptlyshowthecharacterofthenohkan'soverblownnotes.Thelowerpitchisthu

sthe<>

90fundamentalnoteandistheonethatneedstobeemphasized.Althoughthesetwopitchesarekey

edontheWesternflute,theperformershouldstriveforcontinuityandconnectionbetween,asifheor

shewereoverblowingonasinglefingering.OnFingeringsTable4.4showsthefingeringssuggeste

dbytheauthorforthequartertonesusedinMei.Table4.4.SuggestedQuarter-

ToneFingeringsinMei.PitchMeasureNo.Fingering0Tomm.7,26,58m.59»ÌC0*tifioForclosed-

holefluteinm.26So>0c=>Alsoforclosed-holefluteinmm.7and58Fm.9·#|·?

·05$Cmm.12COÌoOOtf•CZ5WForclosed-holeflutemn~m.55C|Forclosed-

holeflute.Addlow^0·»Bkeyifavailable.

91Fingeringsforbothopen-holeandclosed-

holefluteareprovided.AlthoughMeicanbeplayedontheclosed-holeflute,theopen-

holefluteispreferable.Someofthefingeringsfortheclosed-

holeflute,providedinTable4.4,areslightlyinaccuratewithregardtotheactualpitchesproduced.T

hefingeringsuggestionsaremadeaccordingtothecontextofthemusic,inordertoachieveasmoot

herconnectioninfingermotion.Thereare,however,severalquarter-

tonesthatarenotproducedbyspecificfingerings.Rather,theyareobtainedthroughrollingtheflutei

nordertocovermoreorlessoftheblowinghole.FortheCfinmm.44-

45,onemayfingerthelowC#,androllthefluteinward.AslighttonguingoneachCfhelpstoproducea

clearertone.TheE-Ebportamentoinmm.5-6andmm.13-14aswellastheE-

EJ,portamentoinm.55canbemadebyfingeringEandgentlyturningthefluteinward.FortheE-

Fportamentoinm.8,fingerthepitchEandslowlyslidetherighthandmiddlefingeraway.FortheG-

Gf-Gftportamentoinmm.10-11,slowlypressdowntheG-sharpkey.FortheB-C-

C#portamentoinmm.16-

17,fingerC5andturnthefluteintoproducethepitchB4.OnemayplaytheB-

CportamentobyturningthefluteoutandoverblowingC5toC6whileliftingtheleft-

handindexfingeruptoproducethepitchC#6.FortheCiM)portamentoinm.19,gentlypressthefirstt

rillkey.FortheB-Cportamentoinmm.32-

33,fingerC6andturnthefluteintoproducethepitchB5andslowlyturnthefluteout.ToachievetheG-

Cmultiphonic,usethelowCfingeringandaimtheairatthepitchG5.The

92performercanpracticethismultiphonicbyplayingthepitchG5onthelowCfingeringandgraduall

yincreasingtheairspeeduntilthepitchC6isachievedwhilethepitchG5remainssounding.Fukushi

ma'snotationforkey-

clicksinm.36isnormallyinterpretedbycontemporaryplayersfamiliarwithconventionalextendedt

echniquenotationtoindicateacombinationofthekey-

clickwithconventionalflutesound.Inthe1968recordingbyGazzelloni,thekey-

clickpassagewasplayedinthisfashion.The1990recordingbyRobertDickandthe1992recording

byEberhardBlumbothfollowthesameprocedureatthispassage.Watanabe,however,suggestst

hatthekey-

clickeffecthereshouldnotincludetheactualtone.75HiroshiKoizumiperformsthepassageinthis

manneronhis2005recording.Thepresentauthorusuallyaddstongue-

pizzicatotoincreasethepercussiveeffect,butdoesnotincludetheactualflutesound.Thekey-

clickscanbemadethroughtappingtheleft-

handringfinger.Theextraemphasisprovidedbythetongue-pizzicatoprovidessupporttothekey-

clicks,whichmayotherwiseprovedifficulttohear.TheCíf-

Dportamentoinm.46canbemadebyturningthefluteoutwardandmovingthejawforwardatthesa

metimeonthefingeringC#4.FortheF-

F#portamentoinm.57,usetheF5fingeringwithanaddedright-

handringfingerontheDkeyandslowlyslidetherighthandindex75Ibid.,21.

93fingeraway.FortheBb-

Afportamentoinm.61,fingerthepitchBb4andslowlyturnthefluteinward.

94ChapterV.Shun-sanBackgroundShun-

sanforflutesolowascomposedin1969.TheChinesecharacter??Shun-

saniswrittenas^tH,literallymeaning"praisetothespring."AlthoughShun-sanisnotaswell-

knownasMei,itisconsideredbyJapanesemusichistoriansasthefirstinstanceofJapaneseavant-

gardeflutemusic.76ThisismainlybecauseoftheinnovationsofShun-

san.FlutemusicfeaturedprominentlyinthefirstperiodofFukushima'scompositionalcareer.Inhis

firstperiod,Fukushimacomposedtwosolofluteworks,sixchamberworksfeaturingfluteastheprin

cipleinstrument,andonechoralworkaccompaniedbytwoflutesandharp.AfterthecompletionofM

eiIHi-kyoin1962,Fukushimadidnotwriteanyfluteworksuntil1969whenShun-

sanwascomposed.IntheprefaceofShun-

san,Fukushimastates,Ithadbeenvaguelyfeltthattherearepossibilitiesofnewsoundtobecreated

bytechniquesnotordinarilyemployedontheflute...Fragmentaryexperimentsinthisdirectionhav

ebeenmade,forexample,byS.Gazzelloni,L.Berioandmyself...Itwas,however,throughBrunoB

artolozzi'sNewSoundsforWoodwind(OxfordUniv.Press,1967),whichIreadatthesuggestionof

AurèleNicoletin1968,thatIhadaglimpseofthe"realmofnewsounds."77NihonSengoOngagushi

Kenkyukai,eds.,ibid.,458.KazuoFukushima,Shun-san(Tokyo:Muramatsu,2002),3.

95ThetimbreexperimentsmentionedbyFukushimarefertothespecialsoundeffectsthatcanbefo

undinRequiemandMei,suchasharmonics,key-clicks,quarter-tones,flutter-

tonguing,andmultiphonics.78Thesesoundeffects,however,havebeenemployedinotherWeste

rnfluteworkssuchasSequenza(1958)byLucianoBerio,andDensity21.5(1936)byEdgardVares

e.SuchsoundeffectsapparentlydidnotsatisfyFukushima'sdesirefortimbraivariety.AfterMei,Fu

kushimaturnedhisattentiontotheorchestralandpianoworks,whichcarrymorepossibilitiesfortim

braivariety.InMay1968,theSwissflutist,AurèleNicolet(b.1926)visitedJapanandperformedMeii

nhisrecital.Aftertherecital,NicoletsuggestedthatFukushimareadtheaforementionedbookbyBr

unoBartolozzi(1911-

1980)andaskedhimtowriteanewpieceforflute.TheideasdiscussedinBartolozzi'sbookwereatth

attimecompletelynew.Nopriorfluteworkhadyetincorporatedtheseideas.Fukushimathusstarte

dhisprojectofShun-san.InShun-

san,thesoundeffectsarenotusedinasuperficialordecorativemanner,butareintegraltothework.

Althoughitisnowconsideredout-of-

date,Bartolozzi'sNewSoundsforWoodwindprovidedFukushimawithnewwaystoimaginefluteti

mbre.Bartolozzi'sbookistheearlieststudythatemphasizedextendedtechniquesfortheBoehmfl

ute.Unlikethelaterexhaustivedictionary-

likefingeringmanuals,suchasRobertDick'sTheOtherFlute(1975)orThomasHowell'sThe78For

themultiphonicinMei,Fukushimausestheterm"double-stop"toindicateit.

96Avant-

GardeFlute(1974),Bartolozzi'sbookoffersmainlytexttoexplainthepossibilitiesofnewsoundsan

dthebasicprinciplesinfindingthem.Themusicalexamplesandfingeringchartsheprovidesarever

ylimited.UndertheguidanceofBartolozzi'sbook,FukushimaworkedwiththeoboistHiroshiYoshi

mizuandflutistRyuNoguchitodiscoverthefingeringsforthetimbreshedesired.BothYoshimizuan

dNoguchiwereonthefacultyofUenoGaguenUniversity.Fukushimadescribesthetimbraivariatio

nheimaginesinShun-

sanintheprefaceofthescore:Streamsofsoundlikebeltsofunevendenseness;subtleintervalslike

quartertonesresultingfromanewfingering;soundgroupsthathustleandundulate;timbresmarke

dlydifferentfromothers;brokensounds;differencetonesthatcomewaftedfromimpossibledirecti

ons;pedalkeyeffectsofsoftlyrustlingwinds;patteringeffectsanoctavelowerthantheovertonesof

thepedalkey,towhichtheyareapparentlyincontrastasshortandwhimsicalasthefar-

awaysongsofthe70Himalayancuckoo.Shun-

sanwasfinishedonFebruary11th,1969.IttookFukushimaonlysixdaystocomposethiswork.The

piecewaspremieredbyRyuNoguchionFebruary17thintheThirdGerman-

JapaneseContemporaryMusicFestivalinTokyo.Shun-

sanistheveryfirstJapanesefluteworktoemploythenewtechniquesintroducedbyBrunoBartoloz

zi.TheinfluenceofShun-

san,instructureorinmusicalvocabulary,canbefoundinthelaterworksforflutebyotherJapanesec

omposers,suchasVoice(1971)byToruTakemitsu.Asacompletelyinnovativework,Shun-

sanprovedextremely79Fukushima,Shun-san,3.

97difficulttoplayduringthetimeatwhichitwascomposed.NicoletlaterconfessedtoFukushimath

atittookhimayeartocompletelymasterShun-san.Shun-

sanwasrevisedinJanuary,1977.AccordingtoFukushima,therevisionsinclude"changesmadef

ollowingtheadvicesofMr.RyuNoguchiandMr.HiroshiHari,mainlyinfingering,andthosemadeby

[Fukushimahimself]hereandthereconcerningtheworksofsubstanceandforceofsounds."81An

examinationofthedifferencesbetweenthetwoversionswillbediscussedinalatersectionofthepre

sentdissertation.Shun-

sanisdedicatedtoFukushima'sdaughter,Sayaka,andson,Yoshiharu.FromShun-

sanon,Fukushima'smusicnolongerfocusesonthesubjectofdeath.Thecharacterofhismusicbec

omesbrightandvivid.NotationThenotationsystemofShun-

sanisdifferentfromFukushima'spreviousfluteworksanddoesnotemployconventionalWestern

notation.Thesymbolsforaccidentals,fingerings,andembouchureposturearetakenfromBartolo

zzi'sNewSoundsforWoodwind.Fukushimaprovidesclearinstructioninthescoreformostoftheun

conventionalnotations.Thereare,however,somenotationsleftunexplained.80Fukushima,inter

view.

98FukushimaadoptsgraphicnotationinShun-

san.Meter,barlines,andprecisenotationofrhythmarecompletelyabandoned.Thepitchesarenot

atedindiscontinuousstafffragments.Thedurationofanoteisindicatedbythelengthofthehorizont

allinethatfollowsthenote.ThisnotationsystemcanbefoundinFukushima'sotherworkscompose

dduringthatperiodoftime,suchasARingoftheWindforpiano(1968)andSuienforpiano(1972).Int

he1969versionofShun-

san,atrebleclefisindicated,butislocatedoutsidethestaff(seeExample5.1).a.Shun-

san,1969version,line1tvtLt,S(va»-saik\ffKiSIAle4PPb.Shun-san,1977version,line1CWUM-

SnMµ.(Ut,s„i.'k*i—TUKW.rv.1l*j*ìI*1:iii^=U=^P*^sExample5.1.ClefPlacementinShun-san.

((©1969,KazuoFukushima,©1977,Muramatsu)ThesamedeviceisalsousedinFukushima'soth

erworks,suchasARingoftheWindandSuien.Asintheseworks,theusageoftheclefoutsideofthest

affshowsFukushima'sintentiontoabandonthe

99WesternmetricsystemandtoloosentheconstraintsoftheWesternnotationalsystem.Fukushi

maomitstheclefcompletelyinthe1977versionofShun-

san.Thereasonfortakingoutthetrebleclefisobvious.Theonlyclefusedinflutemusicisthetreblecl

ef.TherewasnoneedforFukushimatoindicatetheclefsinhisflutemusicthewayhedidinhispianom

usic.ThefingeringsformostnotesinShun-

sanarecarefullymarked.ThedefinitionofthesymbolW.',however,isnotgivenbyFukushima.The

missingdefinitioncanbefoundinBartolozzi'sbook.InNewSoundsforWoodwind,Bartolozzistate

s,"[f]hesymbol'N.'isusedtoindicateareturntonormalplayingmethodswhenotherwiseitwouldnot

beobvious,andcancelsoutanypreviousspecialusage."Thesquarenoteheadsthatappearinthe

multiphonicsareusedtoindicatethe"brokensounds."AccordingtoBartolozzi,abrokensoundbel

ongstothesoundamalgams"obtainedbyemittingsimultaneouslytwosoundswhichareclosetog

ether,withtheirrelativeharmonics...

[itis]causedbytheinterferenceinsoundvibrationsoccurringwhentwosoundsareemittedwhichar

everyclosetogether,withinthemaximumspaceofasemitone."83Thebrokensoundservesasastr

ongcharacteristicmultiphonictonecolor.BrunoBartolozzi,NewSoundsforWoodwind(London:

OxfordUniversityPress,1982),11.

100Comparisonofthe1969Versionandthe1977VersionThe1969versionofShun-

sanisaprivateedition.Onlyafewcopieswereeverprinted.Thecopyreferredtointhisdissertationw

asincludedasasupplementtoKarenJeanneReynolds'sthesis,"JapanasaSourceforNewWindS

ounds."84ThiscopyisamanuscriptgivenbyFukushimatothecomposerRogerReynolds,thehus

bandofKarenJ.Reynolds.ThecopyincludesKarenJ.Reynolds'scommentsandmodifications.H

ercomments,becausetheydonotdirectlyrepresentthecomposer'sintentions,willnotbeaddress

edinthepresentdissertation.Althoughthe1969versionisdifficulttoaccess,itservesasanimporta

ntsourcetounderstandtheoriginalstructureandconceptofShun-

san.Byexaminingthedifferencesofthetwoversions,theauthorintendstopresentthereasonswhy

thecomposermadethesechangesandrevealhistrueintentionregardingtheessenceandstructur

eofShun-

san.Thedifferencesbetweenthetwoversionswillbediscussedmainlyintermsoffingeringanddyn

amics,aswellasanumberofotherminordifferences.Thesemodificationsfoundinthelaterversion

weremademainlyforreasonsofpracticalperformance.Fukushimaexplainedtotheauthorthatthe

1969versionisclosertohistrueintentionforthepiece.Thepagelayoutsofthetwoversionsarediffer

ent.The1977versionisprintedonan84KarenJeanneReynolds,"JapanasaSourceforNewWind

Sounds"(MAthesis,UniversityofCaliforniaSanDiego,1975).85Fukushima,interview.

101oversizedlandscape-

orientedpage.Thislayoutallowslessinterruptionofthemusicalphrasebythechangeofthesystem

.Bycontrast,the1969versioniswrittenonportrait-

orientedpagesanddisplaysmoresystems.Thestaffinthe1977versioniscutintodiscontinuousbl

ocks,whilethe1969versionisnotatedonaregular,unbrokenstaff.Thisissimplybecausethe1969

versionisamanuscript.Sinceitwasnotofficiallypublished,Fukushimadidnotpolishthescorelayo

ut.TheideaofusingdiscontinuousstavescanalreadybeseeninFukushima'searlierwork,ARingo

ftheWindforpianocomposedin1968.Inthediscussionofthepresentdissertation,themusicalmat

erialsinthispiecearelocatedaccordingtotheordinalnumberofthestaff-

blocks.Inwhatfollows,forthesakeofclarity,theauthorrefersonlytothe1977versionandnotitsanal

ogueinthe1969version.Thefirstblockofthefirstsysteminthefirstpageisassignedthelabel"b.1",a

ndthenextblockis"b.2",etc.Theabbreviation"bb."indicatesthepassagewithmultipleblocks.For

example,bb.1-5meansfromblock1to5.Thereareatotalof155blocksinShun-

san.Allthematerialsafterablockandbeforethenextblockbelongtothepreviousblock.Forexampl

e,theE'sbetweenb.61andb.62areindicatedasb.61(Example5.2a).TherepeatedC-

C#gesturesbetweenb.113andb.114belongtob.113(Example5.2b).

102a.bb.61-62b.61b.62O/???-.A*,1b.bb.113-114b.113Mb.114~}Ïf;i'¦IiIa_i.¿._L/..filLi^r-^r—f-

^^ff?f·r¦"f4&—-*$?-—frExample5.2.ExamplesofLocatorsinShun-san.

(©1977,Muramatsu)FingeringsThecomparisonofthefingeringsinthetwoversionsislistedintabl

e5.1.ThefingeringchartsystemusedinthetableisexactlythesameaswhatFukushimausesinShu

n-

san.Theexplanationofthenumbersofkeyscanbefoundintheperformanceinstructionsofthescor

e.Table5.1.ComparisonofFingerings.No.LocationPitch1969Fingering1977Fingering0102b.2

b.4GÍÍ4GÍÍ4>l<>o•••?·??>oo

103Table5.1.(continued)03b.10A4•O····189none04b.13B4?··?··??··?·??05b.14Bb4>?

·????2?·????2706b.15?4?·?????·????1707b.16?

4SameasNo.6none08b.21Bb4SameasNo.509b.22B4SameasNo.610b.24Bb4SameasNo.5

11b.25A489'CM28912b.29Bb4(pattering)?2•ISSo?2•????8913b.51C5?··????

ottooo1714b.56GÍÍ4•••löoo17•••loo17O15b.59C5(pattering)??SSS•oolòòò16b.61C5(trill)?

·???5*r5tr?·???1718b.68b.71GÍ6CÍ6?looo71789?loo·

104Table5.1(continued)19b.76Bb4SameasNo.520b.77B4SameasNo.621b.79F#4N.none2

2b.83Bb6N.none23b.84Fít6N.none24b.88o••!•o«??··|·??

1725b.154C4N.noneThefingeringsarerevisedmainlyforthereasonofpracticality.Inthe1969ver

sion,allthenotesusingregularfingeringsaremarkedN.Inthe1977version,thesymbolN.ismarked

onlyonthefirstnoteoftheregularlyfingeredpassage.Table5.1doesnotshowallthedifferencesint

hemarkingK,butindicatesonlythenecessaryN.markingsappearinginthe1969versionthatareo

mittedfromthe1977version.Themajorityofthesefingeringrevisionsinvolveneitherpitchnortimbr

e,butonlythestabilityofthehandposition.Nos.5to10,12,13,15,and18to20belongtothiscategory

.Thefingeringsprovidedforthesenotesinthe1966versionareshakyandunstableforthehand.The

causeoftheinstabilityismostlybecausetherighthandholdsnokeyatall.Thus,the1977version

105addsextrakeyscontrolledbythelittlefingeroftherighthandinordertoincreasethestabilityofth

ehandposition.Thesekeysdonotmakeobviouschangesinpitchandtimbre.Nos.1and2involveth

echangeoftimbre.Inthe1969version,thefirstthreeGitsofthepieceareassignedthreedifferentfin

gerings(seeFigure5.1).timbre:muted^-bright333a···!···b#··?··?c#··?·??

Figure5.1.TheThreeFingeringsforG-

sharp.ThetimbreofFigure5.1aisthemostmutedsound,andFigure5.1cistheleastmutedone.Bya

lteringthefingeringsforthesamepitch,themusicundergoessubtletransformationsoftimbre.Inot

herwords,thedensityoftimbrecanbecontinuouslymanipulatedmuchinthesamewaythatonecan

manipulatedynamics.Thegradualemergenceofsoundinthispieceisasdependentontheevoluti

onoftimbreasitisondynamics.Thisidea,however,makesthefingeringstoocomplicated.Itisnotpr

eservedinthelateredition.The1977versionkeepsonlythefingeringshowninFigure5.1cfortheG#

.ThefingeringchangeinNo.24alsoinvolvesthechangeoftimbre.Bothfingeringscan

106producetheindicatedmultiphoniccorrectly.The1969fingeringiseasiertoplay,butresultsina

moremutedsound.The1977fingeringproducesabrightertonecolorandabiggersound.Fukushi

manotonlychangesthefingeringofthemultiphonic,butalsothedynamic.Thedynamicfortheindic

atedmultiphonicinthe1969versionismf,whileitismarkedffinthe1977version.AmultiphonicinSh

un-

sanisnotconsideredasagroupofpitches,butmoreasatimbre.Fukushimausesvariousunconven

tionalfingeringstoproducetimbreswithdifferentdensities.Themultiphonicisthedensestofallthet

onecolorsfoundinthepiece.The1969fingeringisapparentlyweakerthantheothermultiphonicsin

themusic.Fukushimathusreplacesitwithafingeringthatresultsinabiggeranddensersound.Thef

ingeringchangesinNos.11and17providesmootherconnectionswhenchangingfingerings.The

gracenoteAinb.25isplacedinbetweenBbs.ThefingeringofBbinvolvestheuseofthethumbBbkey

,whichiskey2inthefingeringchartusedbyFukushima.Sinceusingkey1orkey2makesnodifferen

ceineithertimbreorpitch,theuseofkey2toobtainthepitchAprovidesbetterconnectioninthispass

age.ThetimbreobtainedbyusingtheNo.17fingeringofthe1977editionismoremutedthanthe196

9fingering.Otherthanthetimbraichange,the1977fingeringofb.68sharesthesamefingeringwitht

he?Finb.69.Thus,the1977fingeringavoidstheslidingmotionoftherighthandlittlefinger.

107ThefingeringchangesforNos.4and16servetocorrectthepitch.The1969fingeringofNo.4res

ultsinapitchthatissignificantlyflatofthepitchindicated.The1969fingeringofno.16isamisprint.Th

epitchproducedbythe1969fingeringisC-sharp,notC-natural.Thegestureinb.61isaC-

DtrillwithoccasionaloverblowingtohighEonthesamefingering.ThehighEisimpossibletoplaywit

hthe1969fingering.Althoughthepitchinthe1969scoreismarkedCft,thehandwritingoftheaccide

ntalonthatnoteisdifferentfromtheothers.Itisverypossiblethattheaccidentalwasaddedinalaterr

evision.The1977fingeringofNo.14isamisprint.ThisfingeringresultsinaG-

Etremolo,insteadoftheGftpatteringeffectindicatedbythescore.The1969fingeringisthecorrectfi

ngeringthatshouldbeadoptedforthisgesture.DynamicThecomparisonofthedifferencesindyna

micsinthetwoversionsislistedintable5.2.Table5.2.ComparisonofDynamics.No.Location1969

Dynamic1977Dynamic01bAppm¿02b.2mpm£03b.5mpmf

108Table5.2.(continued)04b.8none05b.14mff06b.16mff07b.21/ff08b.23mff09b.29ffsubito?

10b.31mff11b.47nonemf12bb.48-49nonecrescendo13b.51fffff14b.53fffff15b.54/

ff16b.60mfpcrescendomf17bb.61-62crescendonone18b.63sff-ffsff-

fff19b.64nonefff20b.65fffnone21b.66sff-ffsff-fff22b.67nonemoltocrescendo23bb.73-

74decrescendotompdecrescendotomf24b.84sf-fsf-ff25b.87PPnone26b.88mfff27b.100sf-

mfsff-mf28b.101^-/crescendotoffmfsff-fcrescendo\offfmf29b.102/none30bb.121-

122crescendonone31bb.130-131nonedecrescendotomp32b.139/

ff33b.140^crescendoXofff./¡¡ycrescendotoffff34bb.147-149mpdecrescendoto?mp—?—pp

109Thedynamicchangesgenerallyincreasedynamiccontrastandmakethemusicmoredramati

c.TherevisionsofNos.1to3,however,changetheoriginaldynamicstructure.Figure5.2isthedyna

miclinegraphinbb.1-67.ffff\öiff-i.f-rmf-?PPPPP?

muitiphonicsmutedfingeringnormalfingering»«—:»«»!?ÏKU?t?-L\-1977-

1969DurationFigure5.2.DynamicandTimbraiProgressioninSectionI.Thesolidlineindicatesthe

dynamicevolutionofthe1969version,andthedottedlineisthe1977version.Thedynamicprogres

sionofthe1969versionshowsacleartensionbuildingfromsofttoloud.Theincreasing-

dynamicstructurecorrespondswiththetimbraievolution.Thepassageofbb.1-

30isplayedwithspecialfingeringsthatresultinamutedtimbre.Thefollowingpassageisplayedwith

anormalfingeringwhichproducesabrighter,morefocusedsound.Thelastpassageofthissection

consistsofmultiphonicgroupswhichfeaturethedensesttonecolorinthissection.Thedynamicrevi

sionsofNos.1to3weakenthecontrastoftensionbuilding.Asimilareffectisfoundin

110themodificationsofNos.1and2inTable5.1.Themodificationsinfingeringsanddynamicsboth

involvetheopeningpassageofthepiece.Fukushimamadethesechanges"concerningtheworks

ofsubstanceandforceofsounds."86Thechangesindynamicsinthispassagearemadeas"perfor

mancedynamics."ThetimbreresultingfromthefingeringsintheverybeginningofShun-

sanismutedanddoesnotprojectwell.Theoriginaldynamicmarkingpptendstoencouragetheperf

ormertoplaytoosoftly.Fukushimaalsoexplainedtotheauthorthattheextremelysoftdynamicmar

kingsatthebeginningoíShun-

sanmayalsomaketheperformernervous,thusaffectingthetonequality.Thetonequalityinthispas

sageshouldbeeasyandrelaxed.7Heexplained,Iwrotethedynamicsaccordingtothemusicinmyh

ead,andIwasnotawareifthatwouldbedifficultfortheperformer.Whenthepiecewasperformed,so

meverysimpletimbraimovementsandtechniquessoundnervous.Ithenbecameawarethatwhen

Icompose,Ishouldtakeintoconsiderationtheperformer'sfeelingwhenheorshereadsthemusic.T

hisiswhatIlearnedfromVaresewhenIvisitedhim.Ingeneral,themostimportantthingishowthemu

sicsounds,butnotthescoreitself88The1977dynamics,especiallythosefromNo.1to10inTable5.

2,areactuallytheperformancedynamicsgiventotheflutist.The1969dynamiclevel,however,sho

wsthetruedynamicsintendedbythecomposer.Fukushima,Shun-san,3.Fukushima,interview.

IllOtherGesturesShun-

sanisnotatedingraphicnotation.Ithasnostandardmetricsystemtomeasurethelengthofeachges

ture.Inthissystem,lengthdoesnotcorrelatetoabsolutetime.Thetwoversionsarenotatedbyadiffe

rentgauge.Theactuallengthsofthesameplaceinthetwoversionsaredifferent.Forexample,thele

ngthofthefirstnoteinthe1977versionis11cm,butitis14.7cmin1969version.Theratioofthelength

betweenthematerialsismostlythesameinbothversions.Thereis,however,asignificantchangein

thelengthofthemultiphonicinb.66.Therelativedurationofthismultiphonicin1969versionismuchl

ongerthaninthe1977version(seeExample5.3).Ii¡.-«?1(Uait-»av-0Siiliktt?Ç*ftItí?¿¿?SfSLdV-

I*SP-*.¿?ff&Example5.3.MultiphonicGroupsinShun-san,bb.62-

67:a.1969Version(©1969,KazuoFukushima),b.1977Version.(©1977,Muramatsu)

112Forthesakeofeaseincomparison,theauthorhasadjustedtheproportionalscaleofbothversio

ns.Themultiphonicgroupscreatetheclimaxofthefirstsectionofthemusic(bb.1-

67)inbothvolumeandtexture.ByputtingthemultiphonicgroupstogetherwiththeC-

Dtrillinb.61,thewholesectioninbb.61-

67isanextendedtrillsectionbasedonthepitchC.ThelengthoftheCtrillpresentationin1969versio

nisapproximatelythesameasthelengthofthefluctuatingGattheverybeginningofthepiece,which

isfrombb.1-4.PlayingthemultiphonicsinShun-

san,however,consumesmuchair.Fukushimathusshortensthedurationofthemultiphonicgroup

significantlyinthe1977versionasacompromiseinordertomaintaintheenergyofthesound.Anoth

erminordifferencebetweenthetwoversionsisfoundinbb.10-12.TheGfl+inthisA-GWr-

Gfragmentisachievedthroughportamentointhe1969version.Inthe1977version,thereisnoporta

mentoindicated.Themodificationofthisgesturedoesnotmakeanydifferenceinfundamentalstru

cture,norisitacompromiseforpracticalperformance.AccordingtoFukushima,hetookouttheport

amentoheresimplybecausetheeffectdidnotsoundasheexpected.Fukushimastates,WhenMr.

NoguchiandIfirstreadBartolozzi'sbook,weweresoexcitedaboutallthenewtechniquesandideas

describedinthebook.Wewereeagertoputeverythinginthemusic.Later,wefoundtheeffectwasn't

asgoodasweexpected89anddecidedthatitisinappropriateinthispassage.89Fukushima,intervi

ew.

113StructuralAnalysisShun-

sanisthemostunconventionalpieceofthethreepiecesdiscussedinthisdissertation.Insteadoftra

ditionalWesternnotation,Fukushimaemploysgraphicnotationforthefirsttimeinaworkforflute.90

Themetricsystemandthetraditionalnotationofrhythmarecompletelyabandoned.Theabsolutep

itchinthedodecaphonicandquarter-

tonesystemsofRequiemandMeiperformsthecrucialorganizationalfunction.Contrastingly,thec

onceptofpitchinShun-

sanisrathermorebroadlyunderstoodandinterpreted.Pitcheswithdifferentaccidentals,suchasG

,G+,andGif,maysometimesbeunderstoodtoperformasimilarpitchfunction.Theycanallbeconsi

deredasbelongingtothegeneralpitch-

classofGFukushimasometimesusesthesepitchvariantstoconnectthespacesbetweenconsec

utivewhole-toneorhalf-tonepitchesinhismelodiclines.Shun-

sanfeaturesseveralportamentiinthemusic.Otherthantheobviouslynotatedportamenti,pitches

movingbackandforthbetweenaquarter-

toneorasemitonecreateaneffectsimilartoaportamento(seeExample5.4).PriortoShun-

san,Fukushimahasusedgraphicnotationinhispianowork,ARingoftheWind(1968).

114a.bb.1-4<$r>?:'ÌsM&me.bb.34-39b.bb.10-13£?^-ŒtM•t¦fExample5.4.ExamplesofQuasi-

PortamentoGesture.(©1977,Muramatsu)Theportamentiorthese"quasi-

portamento"gesturescanbeconsideredasanelongationofasinglepitch.Shakuhachiisidentified

byFukushimaasamainsourceofsoundinShun-

san.Inshakuhachiperformancepractice,vibratoisnotproducedbymovingtheairasitisintheWest

ernflute,butthroughthemotionofthehead.Asstatedpreviously,theperformerproducesvibratoon

shakuhachithroughshaking,nodding,orcirclingthehead,resultinginfluctuationsofpitch.Thepor

tamentoandthequasi-

portamentogesturesreflectthisqualityofpitchinstabilitycharacteristictotheshakuhachi.Withthis

notion,theconceptofabsolutenessinpitchclassesisthusblurred.Otherthanthequasi-

portamentogestures,thepitchesmovebasicallyinlinearmotion.Linearmotionisinfacttheprimeo

rganizationalprincipleofthispiece.Neithermotives—whethermelodicorcontour—norpitch-

classsetsperformasignificantorganizingfunctioninShun-san.Rather,itis

115subtletyofthelinearline,timbre,anddynamicsthatconveythemainideaofthispiece.Thus,the

serialanalyticalproceduresusedinanalyzingRequiemandMei,suchastwelve-

tonetechniqueandsettheory,areunsuitableforShun-

san.Theanalysisisapproachedinsteadthroughtheinteractionbetweenthelinearline,timbre,dyn

amics,andduration.TheauthoradoptstheprimaryconceptofSchenkeriananalysis.Theconcept

ofSchenkeriananalysisistorevealtheunderlyingstructurethroughareductionofthemusicalsurfa

ce.Theexaminationoftimbraianddynamicprocessesisalsoincludedintheanalysis.Asdiscusse

dabove,themusicalmetricsystemisnotusedinShun-san,norisatimereference—

usuallyprovidedingraphicallynotatedmusic—

given.ThedurationofthemusicalmaterialsinShun-

santhuscannotbemeasuredintermsoftime,suchasbeatsorseconds.Durationofmusicalmateri

alsisdescribedbytheauthorinthefollowinganalysisusingasystemoflengthmeasurement.Theu

nitofmeasurementadoptedbythepresentanalysisisthecentimeter.Intermsofform,Shun-

sancanbedividedintothreesections.Table5.3showsbasicinformationforthethreesections.

116Table5.3.SectionalStructureofShun-san.SectionISectionIISectionIIIRangebb.1-

67bb.68-112bb.113-

155Length211.2cm149.1cm208.2cmNumberofStaffBlocks674543DirectionoftheMelodyasc

endingarchdescendingDynamicLevelPP-fff(ppp)p-fffppp-

MfWhileSectionIandSectionIIIaresimilarinlength,SectionIIisonlytwo-

thirdsthelengthoftheothertwosections.Asisobviousinthedynamiclinegraph(Figure5.3),Sectio

nIandSectionIIIalsoshowasimilarityintheirdynamicevolution.Bothsectionsfeatureaprogressio

nofincreasingdynamics.ThemelodicmaterialinbeginningofSectionIIIissimilartothatofSectionI.

Bythisconsideration,theformofShun-

sanseemstobea"twisted"ABAforminwhichthecontentofthetwoAsectionsisnotidentical.Thefu

ndamentalmelodicstructureofthethreesections,however,suggestsanarchform.Thelinearlines

ofSectionIandthefirstpartofSectionIIareascendinglines.Contrastingly,thelinearlinesofthesec

ondpartofSectionIIandSectionIIIaredescendinglines.Theternaryformandthearchformcanthu

sbeunderstoodasoperatingsimultaneously.

117a.SectionIffff3&¦^ft\Pfj_mp??OlppPPPJ^it/•1977-1969Durationb.SectionIIp>??-1977-

1969Durationc.SectionIIIOf/rV?>PP-1977-

1969DurationFigure5.3.DynamicLineGraphofShun-san.

118SectionI:bb.1-

67Atfirstglance,SectionIseemsthemostcomplicatedsectionofthepiece.Itfeaturesthemostacti

vity,containsmoremultiphonics,andusesthemostcomplicatedfingeringsthantheothertwosecti

ons.Structurally,however,SectionIisthemoststraightforwardsectionofthepiece.Example5.5is

acompletesketchofSectionIinaquasi-Schenkerianstyle.Theopennote-

headsindicatethefundamentalmelodicstructureandthedominantpitches.Thebeamednotesar

ethemostimportantones.Othernotesappearingarenon-

structuralnotesattachedtothebeamedones.Thedashedslurindicatestheregistertransferinocta

ve(s).ThebasicmelodicstructureinSectionIisanascendinglinefromG#toC.Thetwopitchclasses

,GftandC,arealsothemostdominantpitchesinShun-

san.Asmentionedbefore,however,becauseofthepitchinstability,thepitchesimmediatelyadjac

enttoCandGJt,suchasCtt,CÍ,orG,canalsobeconsideredasthedominantpitches.Duetoitsconti

nuedemphasis,thepitchclassCismoreimportantthanthepitchclassGft.Therestingpointordesti

nationofmostlinearlinesinShun-

sanisC.AfewlinesrestonthepitchGit,buttheselinesareneverthemainstructureofthepiece.

119V*mMHoí\-l)SImm^tJrl>\w:\;jo<="">

120SectionIcanbefurtherdividedintothreesectionsaccordingtomelodicstructureandtimbre(se

eTable5.4).SectionIashowsthecompleteG#-

Cascendingline.ThedominantpitchCissustainedinSectionIbwithseveralinsertedlinearlines.In

SectionIc,themainpitchCisnotinterruptedbytheinsertedlinearlines,butisprecededbyadescend

inglinefromEbtoC.ThesustainedCinSectionIciselaboratedbytrillsandtimbraivariety.Thisdivisi

on,however,isblurredconsiderablybyothersecondarymelodicmaterials.Table5.4.Structureof

SectionIinShun-san.SectionIaSectionIbSectionIcRangebb.1-30bb.31-53bb.54-

67Length88.5cm70.3cm52.4cmTimbremutednormaltrll,multiphonicThemainascendinglinea

rlineinSectionIiscompletedinSectionIa.Theascendinglineshowsanacceleratinggesture.Thefi

rstpitch,Git,issustainedfor31cm,whilethecompleteascendinglineisonly45cminlength.Theacc

eleratinggesturerevealstheJo-Ha-

Kyuconcept.AfterthedestinationpitchC,isreached,adescendinglinebeginsatb.21.Thelinedes

cendsfromCtoAb,theenharmonicofGft.Thedescendingline,however,isnotfinishedinSectionIa

,butextendsuntilb.41inSectionIb.Thedescendinglinethusservesasasmoothconnectionleadin

gintoSectionIb.ThroughoutSectionIa,thetoneisproducedbyspecialfingerings.Itscharacteristic

timbreisthin

121andmuted.Thechangefromspecialfingeringstoregularflutefingeringsmarksthebeginningo

fSectionIb.ThefingeringsusedinSectionIbaremostlyregularfingerings.Thetimbreinthissection

istherebybrighterthanthatofSectionIb.SectionIbfeaturesseveraldescendinglines,includingthe

onecontinuedfromSectionIa.Thesedescendinglines,however,areinterruptedbyeachother.Th

eG-DidescendinglineinterruptstheC-

AbdescendinglinefromSectionIa.Thedescendinglineatthebeginningofthissectiondescendso

nlytoDi.ThedestinationCinthecorrectregisterisdelayeduntilb.51.Thedynamicmarkingfffoverth

epitchCassertstheimportanceofthepitchclassC.BeforetheemphasizedCisreachedinb.51,the

pitchclassChasbeenpresentedinthelowregisterinb.46.ThisnoteisreachedthroughtheD-

Cdescendingline.ThemaincharacterofSectionIcisthetremologesture,includingtrills,largeinter

valtremolos,andsame-

notetremolos,whichFukushimacallsthe"patteringeffect"intheprefaceofthescore.AftertheEb-

Cdescendinglinefromb.54tob.59,themainpitchCsustainsthroughoutthesection.Themultiphon

icgroupsinbb.62-

67aremultiphonicswithfundamentalpitchesplacedonC,CÍ,andCit.Themultiphonicshereshoul

dnotbeconsideredastoneclustersinwhicheverypitchhasspecificmeaning.Rather,theyshouldb

econsideredasvariantsofthepitch-

classCwithdifferenttimbres.ThetimbreinSectionIcisthusthedensestinallofSectionI.

122ThemusicalprogressioninSectionIispresentedinduration,melody,dynamic,andtimbre.Th

edurationofthethreesubsectionsdecreases,andthepaceofthemusicaccelerates.Thebasicmel

odiclineascendsfromG#toC.Theoveralldynamicincreasesthroughoutthesection.Thetimbrepr

ogressesfromthintodense.Whilealltheselayersmaynotmoveatthesamepace,thetensionofallt

helayersisincreasing.Thatistosay,allthelayersmoveinthedirectionofincreasingtension.Octav

edisplacementisveryrareinthissection.Almostallthepitchesofthelinearlinesareplacedinthepro

peroctave.Eventhoughitcontainsthemostmusicalactivityoftheentirepiece,thestructureofSecti

onIisthesimplestofthethreedivisions.SectionII:bb.68-

112ThestructureofSectionIIisnotasstraightforwardasSectionI.Thepresentationofpitchesand

differenttimbresseemsscattered.Theprogressionofdynamiclevelsisalsoirregular.Themainso

urceofconfusioninthissectionisitscompoundmelodicstructure.Additionally,theregistraidisplac

ementofthepitchmaterialsalsomakesthepresentationofmusicalmaterialsmorecomplicated.T

hecompletestructuralsketchofSectionIIisprovidedinExample5.6.

123tuoss1t3Ujha1"00s,^.g¿3's·NEOO^1^cO^tt*'W-Ul,•III?ilSvo-ñi=tw-CO•c<u??¦saoO(L)a'-

Msi?SsJ3u"ßS¦**?Sh.V©»?"a.SS3< p=""></u??¦saoO(L)a'-Msi?SsJ3u"ßS¦**?

Sh.V©»?"a.SS3<>

124SectionIIcanbedividedintotwosubsectionsaccordingtothedirectionofitslinearlines.Thefirs

tsubsectionisfromb.68tob.90.Itincludesthreeascendinglinearlines.Thesecondsubsectionisfr

omb.91tob.112.Thissectionincludesonlyonedescendinglinearline.ThemelodicmaterialinSect

ionIIformsanarch.Theturningpointofthearch,however,isnotplacedinthecenterofthesection.Th

efirstsubsectionisalmosttwiceaslongasthesecondsubsection.ThearchconstructioninSectionI

Ialsoshowsthemelodicstructureofthecompleteworkinminiature.ThefirstsubsectionofSectionII

includesthreelinearlines.Thefirstlinearline,indicatedaslineainExample5.6,isaG^-

Cascendinglinefromb.68tob.78.Thesecondline,lineb,isaD^-

Ciascendinglinefromb.69tob.89.Linecisashortascendingfragmentfromb.86tob.90.Lineaandli

nebaredistinctbecauseoftheiroctaveplacementinthebeginningofSectionII.Lineaisplacedinthe

highregister,andlinebisinthelowregister.Thedistinctionbetweenthetwolinesbecomesblurreda

fterb.76whenbothlinesreachthemiddleregister.Theseeminglyrandomdynamicsactuallymarkt

hemainstructureofthemusic.Thedynamicsofthemainstructureinbothlineaandlinebaremostlys

ustainedbetweenmfandff.TheflaggedhighBatb.72isemphasizedbyitsdynamicandduration.Th

eflaggedBisanappoggiaturatowardthehighAatb.74.Linecissignificantlyshorterandsofterthanli

neaandlineb.LinecisalsotheonlylinearlineinShun-

santhatisoutofcontactwiththemainpitchC.Itdoes,however,stillcometorestontheotherdominan

t

125pitchofGít.LinecfunctionsasanendingphraseofthefirstsubsectionofSectionII.Theseconds

ubsectionofSectionIIconsistsofonlyonelinearline.ThislinearlineisindicatedaslinedinExample

5.6.Withregardtoitsdynamicprogression,thesecondsubsectionissimilartothefirstsubsection.T

helinearlinesustainsitsdynamiclevelbetweenmfand/,anddiminishestoppattheendofthesectio

n.Directionally,thesecondsubsectioncontrastswiththefirst.Thelinearlineinthesecondsubsecti

onisadescendingB-

C#line.Thedescendingmotioninthesecondsubsectionforeshadowsthestructureoftheupcomin

gSectionIII.ThenotesinSectionIaremostlyplacedinapositionsuchthatthelinearconnectionisob

vious.Bycontrast,someofthenotesinSectionIIarescatteredinotheroctaves.Thiseffectobscures

thelinearprogression.Forexample,theBb-B-Cinbb.76-

78istransposedtwooctaveslower.AllthemusicalelementsinSectionImoveinthesamedirection.

Contrastingly,themusicalelementsinSectionIImovedifferently.Thedynamiclevelismostlysust

ainedatmforlouderwithasofttailattheendofeachsubsection.ThetimbreinSectionIIismostlybrig

ht.Themutedfingeringsarerarelyusedhere.Theonlymovinglayerinthissectionisthelinearlinestr

ucture.Thelinearlinesformanunbalancedarchform.Theascenttotheapexofthearchislongertha

nthedescentfromit.

126SectionIII:bb.113-

155ThestructuralsketchofSectionIIIisprovidedinExample5.7.ThebeginningofSectionIIIisade

ceptiverecapitulationofSectionItransposeddownaperfectfifth.TheCit-DÎprogressioninbb.113-

118issimilartotheGJt-Aprogressioninbb.1-

12inbothpitchcontouranddynamicprogression.ThedurationoftheCft-

DÍprogression,however,ismuchshorterthantheG#-

Aprogression.ThisdeceptiverecapitulationisactuallyanelongationofthesustainedC#/

C.IfoneconsiderstheconstituentpitchesoftheD-groupinbb.115-

119asbelongingtothesamegeneralpitch-class(seep.107),theD-

groupcanbeunderstoodasservingthefunctionofaprolongedneighbor-

note.Eventhoughthepitchessoundimportantbecauseoftheemphasisintheirdurations,theD-

groupfunctionsornamentally.ThemelodicstructureofSectionIIImirrorsthatofSectionI.Thedomi

nantpitchinbb.113-136,includingthedeceptiverecapitulation,isC/

C#.Althoughthepassagefromb.120tob.134isadescendinglinearprogressionconsistingofvario

uspitches,theC-to-

CdescendinglinefunctionsasanelongationofthepitchC.Thislinearlineperformsaregistertransf

erinoctavesasindicatedbythedashedslur.Thefundamentaldescendinglinebeginsatb.137.The

fundamentallineinSectionIIIisaG-CdescendinglinethatcontraststheG#-

CascendinglineinSectionI.

1275toCO3<GvU?O2Ve?\¦^f«"?il?.il·Millmu».1I)ei°IXlIM''S\e\\i)1\f8:IIni?4111¦fc-a_-±\WF-\

*-\tKJ^B,(J-g-*-43MQ-co13¦*-»'I-OIi(U?CJ?¦a60C-NLo.m<="">3J3U-**CU¿?C/

3"«i.SWS¦**C/3•?(U"aaesIH</GvU?O2Ve?\¦^f«"?il?.il·Millmu».1I)ei°IXlIM''S\e\\i)1\f8:IIni?

4111¦fc-a_-±\WF-\*-\tKJ^B,(J-g-*-43MQ-co13¦*-»'I-O

128AstheG-

Cdescendinglineprogresses,thepitchCremainssustainedintheupperregisterthroughoutSecti

onIII.TheCsfromb.139tob.142areemphasizedbyamultiphonictimbreand"patteringeffect"(i.e.,

thetremolo).TremolosandmultiphonictimbresarealsousedinSectionIctoemphasizethesustain

edCs.TheemphasizedCsalongwiththedeceptiverecapitulationatthebeginningofSectionIIIrein

forcetheimageofSectionIIIasarecapitulationofSectionI.Intermsofdynamics,theprogressionof

SectionIIIissimilartothatofSectionI.However,thedynamicprogressioninSectionIIIshowstheJa

paneseJo-Ha-

Kyuconceptmoreclearly.ThedynamiclevelofSectionIIIstartssoftlyandincreasestoaclimaxatb.

140.Thepassageaftertheclimaxremainsquiet,mostlyat?

orsofter.ThedynamicprogressioninSectionIIIisthusaperfectrepresentation??Jo-Ha-

Kyuconcept(comparetoFigure2.1,p.23).SectionIIIfunctionssimultaneouslyasadeceptivereca

pitulationandacounterpartofSectionI.ThedurationandthedynamicprogressionofSectionIIIare

similartothoseofSectionI.ThebeginningmaterialsandthesustainedCemphasizedbyamultipho

nictimbreandtremoloinSectionIIIrecallthesimilarpassagesinSectionI.Thefundamentallinearst

ructureinSectionIII,however,isamirrorimageofthatinSectionI.Duetothecomplexinterplaybetw

eendifferent,seeminglycontradictoryelements,SectionIIIisthusmorecomplicatedthantheother

twosections.

129TheJapaneseInfluenceJo-Ha-KyuApplicationTheJo-Ha-

KyuconceptispresentedinasuperficialwayinthedynamicprogressionofSectionIII.Thedynamic

buildingandreleaseisclearlyshowninFigure5.6andhasbeenexaminedinpreviousparagraphs.

ThedynamicprogressionofSectionIalsoshowstheconceptofincreasingtensionwithoutaconse

quentrelease.TheeventualreleaseoftensionisexpressedthroughthesilencebetweenSectionIa

ndSectionII.ThespacebetweenthetwosectionsisoneofthelongestsilencesinShun-

san.TheevolutionoftimbrefromthinandmutedtodenseinSectionIisanotherexampleoftheconce

ptoftensionbuilding.Consideredcollectively,thethreesectionsofShun-sanconveytheJo-Ha-

Kyuconceptonalargerscale.Asdescribedinthepreviousanalysis,SectionIisthemoststraightfor

wardsectioninthispiece.Allthematerialsarepresentedclearly,andthetendencyofalltheelement

s,includingthetimbraivariety,dynamiclevel,andmelody,istomoveinthesamedirection.SectionII

ismorecomplicatedthanSectionI.ThepresentationoflinearprogressioninSectionIIisblurredbyit

scompoundmelodicstructureandtheoctavedisplacement.Notonlyisthepresentationoflinearpr

ogressioninSectionIIIobscured,butalso,thetendencyofthedifferentelementshereistomoveinc

ontrastingdirections.ThedynamiclevelinSectionIIIincreasesasthemusicprogresses,while

130thefundamentallinearlinedescends.SectionIIIfunctionsbothasadeceptiverecapitulationa

ndasthecounterpartofSectionI.Asmentionedabove,thestructureofSectionIIIisthemostcomplic

atedofallthreesections.TheprogressionofincreasingcomplicationofthethreesectionsofShun-

santhusshowstheJo-Ha-Kyuconcept.AsymmetryandIrregularityShun-

sanisnotatedinagraphicsystem.Westernconceptsofmeterandrhythmareabandonedcomplete

ly.Fukushimadoesnotevenprovideameasuringmarkingthathelpstheperformertomeasuretime

.Themeasuringmarkingisusuallyprovidedinothergraphically-

notatedmusic,suchasSequenzabyBerioandVoicebyTakemitsu.Bycontrast,thenotationofShu

n-

sanpresentsthecharacteroftimelessness.Suchasituationresultsinacertainsubjectivityofinterp

retation.Theissueoftheindividualinterpretationwillbeaddressedintheperformancesuggestion

sthatfollow.Notonlyisthesenseoftimeblurred,butalsotheabsolutenessofpitchisobscure.Althou

ghhestilladoptsthefive-

linestaffsystem,FukushimaomitstheWesternclef.Numerousportamentiandquarter-

toneprogressionsunderminetheaudience'sawarenessofthedodecaphonicsystem.Thesubtle

changesintimbreblurthemovementofpitchesevenmore.

131AlthoughthemelodiclineofShun-

sanformsanarchstructure,thevertexofthearchdoesnotcoincidewiththecenterofthemusic.The

ascendingpartofthearchislongerandcontainsmoreactivity(307.1cminlengthand90staffblocks

),whilethedescendingpartisshorterandcontainlessactivity(261.4cminlengthand65staffblocks

).Thestructuralcomplicationthathasbeendescribedinthepreviousparagraphsshowstheasym

metrycharacteristictotheJo-Ha-Kyuconcept.SpaceandSilenceSpaceandsilenceinShun-

sannotonlyemergeaudibly.Theyaredepictedvisuallyinthescoreaswell.Asinglepitchiselongate

dbybendingback-and-forthbetweenquarter-

tonesaswellassubtletimbrechanges.The"space"—

referringtothedurationofasinglepitchwithtimbraivariations—

createdbytheelongatedpitchesisfarmoreexpansivethaninanypreviousfluteworkbyFukushima

.Silenceisasignificantaspectofthismusic.Manyblankspacesareplacedbetweenthephrases.Ot

hershortersilencesarealsoplacedbetweenthesmallerfragmentsofmusicinthephrases.Thegra

phicnotationwithbrokenstaffsleavesmorespaceinthescore.Althoughthespaceshowingonthes

coreisnotvisibletothelistener,ithasagreateffectontheperformer.Similartotheunpaintedportion

onthecanvasofaZenpainting,whichallowstheimaginationoftheviewerto

132operatemorefreely,thespace-filledscoreofShun-

sanallowstheperformertoplayfreelywiththeelementsofthemusic,includingthebreath,timbre,d

urationandexpression.TimbraiVarietyTheexplorationofdifferentsonoritiesisoneofthemaintec

hniquesFukushimautilizesinShun-

san.From1965to1968,Fukushimacomposedonlyfororchestraandpiano.Theorchestra,clearly

,hasthegreatertimbraivariety.Fukushimaexploresdifferenttimbresonpianobyusingdifferentco

mbinationsofpedalsandtoneclusters.Intraditionalfluteperformance,timbraivarietyissomewhat

limited.Asdiscussedpreviously,Bartolozzi'sNewSoundsforWoodwindprovidesmanynewposs

ibilitiesforflutesonorities.ItisclearthatFukushimaadoptedmanyoftheseideas.Byassigningspec

ificflutefingerings,thesoundoffluteinShun-

sancreatesdifferentdensitiesandcolors.ThemultiphonicsinShun-

sanarenottreatedasacombinationofvariouspitches,butfunctiontocreateadensetimbrecentere

donaspecificpitch.PerformanceSuggestionsDecisionbetweentheTwoVersionsThedifference

sandcomparisonbetweenthetwoversionsofShun-sanarediscussedinthe

133thirdpartofthischapter.Inaninterviewwiththeauthor,Fukushimaagreesthatthe1977version

ofShun-

sanisaperformer'sedition,whilethe1969versionrevealsthecomposer'strueintention.Thelatere

ditionmakescertainconcessionstotheeaseofperformance.Somesubtletiesoriginallyenvisage

dbythecomposerinthe1969editionareabandoned.Asdiscussedpreviously,manymodifications

inthe1977versiondonotchangethestructureofthepiece.Thereare,however,somemodification

sthatmightmisleadtheperformer.Themostcrucialmodificationisthedynamicchangeinbb.1-

31.Theauthorsuggeststhattheperformeradoptthe1969dynamicmarkingsforthispassage,whil

eremainingawareofthechangesinthe1977version(seeTable5.2,Nos.1-

10).Fukushima'sintentionwiththemodifieddynamicmarkingsinthelaterscorewastohelptheperf

ormerrelaxandbetterprojectthesound.The1969dynamicmarkingsshowtheactualsoundeddyn

amiclevel.ArelaxedsoundatasoftdynamicreflectsFukushima'strueideaforthispassage.Thech

angeofthreedifferentfingeringsforGiiinbb.\-

4isnotascrucialachangeasthedynamicchangesdiscussedabove.Althoughthefingeringsinthe

1969versioncomplicatepracticalperformance,theyallowamoresensitiveexpressionforthebegi

nningphrase.Thechoiceoffingerings,ofcourse,remainsuptotheperformer.

134DecisiononTempoFukushimadoesnotprovideanyreferencefortimespaninShun-

san.Inhislaterwork,Suienforpianosoloin1972whichadoptsthesamegraphicnotationsystem,he

states,"thetempoanddurationofthispieceshouldbedecidedbytheplayer."91Theperformer'sra

ngeofinterpretationisthuswideopen.Differentinterpretations,naturally,leadtototallydifferentre

sults.Intheopinionoftheauthor,theopennessofinterpretationisoneofthebeautiesofthispiece.Th

edurationofShun-

sanintherecordingmadebyRobertAitkenin1978issevenminutes,whiletheonemadebyEberhar

dBlumin1992isthirteenminutesinlength.Thecomposerdidnotobjecttoeitherapproach.Hegrant

stheperformerwidelatitudeofinterpretationinthispiece.BasedonRyuNoguchi's1970recording,

KarenJeanneReynoldssuggestsinherthesisthatthefirstnoteofShun-

sanshouldbearoundnineseconds.Noguchi'srecordingofShun-

sanisaboutsevenminutesinlength,whichissimilartoAitken'sinterpretation.92AccordingtoFuku

shima'snotesonSuien,theauthorbelievesthattoassignaspecifictimespanreferenceundermine

sthefreedomthathetriestoconveyinthemusic.Theauthor'sonlysuggestionontempoistomaintai

nthecharacterofLentorubato,atempofavoredbyFukushima(seethediscussioninChapterII).91

KazuoFukushima,SuienforPiano(Tokyo:OngagunoTomoSha,1972),16.92KarenJeanneRey

nolds,"JapanasaSourceforNewWindSounds"(MAthesis,UniversityofCaliforniaSanDiego,19

75),attachment.

135OnMultiphonicsThemultiphonicsemployedinShun-

sanareusedtocreaterelativelydensetimbres.ThemostimportantpitchofFukushima'smultiphon

icclusterisitsfundamentalpitch,i.e.thelowestpitch.Theupperpitchesfunctiontocolorthefundam

entalpitch.Theperformerthusneedstofocusonthefundamentalpitcheswhenplayingthemultiph

onicsinShun-

san,insteadoffocusingontheweakesttoneasistheconventionintheperformanceofmultiphonics

.ExpressionofthePieceInviewoftheopennessofinterpretationgrantedbyFukushima,itwouldbei

nopportunefortheauthortoprescribeaparticularexpression.Rather,themusicshouldspeakforit

self.Fukushima,however,expressedduringhisinterviewwiththeauthorthatmanyperformersmi

sunderstandthecharacterofShun-

san.Thismisunderstandingismainlybecauseoftheirimpressionofthedarkandheavycharactero

fMeiandotherworksbythecomposer.Sincethisisahymnaboutthejoyfulspring,andagifttoFukus

hima'stwobelovedchildren,Shun-

sanshouldbeabrightanddelightfulpiece.Thesymbolicimagesthatfollowaremerelyasubjectivei

nterpretationbytheauthorandshouldnotbeconsideredastheonlypossibleinterpretation.Themu

tedtimbrescreatedbythe

136specialfingerings,especiallythoseinquarter-

toneprogression,portrayaspringbreeze.Inb.61,thesoundofacuckooisheard.Thetrillsandpatte

ringeffectsillustratethepetalsofsakura(i.e.thecherryblossoms,thequintessentialimageofsprin

ginJapan)flutteringinthewind.Themultiphonic-

trillsarethesakurainfullbloom.ThecompoundmelodystructureandthelargeintervalleapsinSecti

onIIIshowthereflectioninapondofaJapanesegarden.Shun-

san,totheauthor,conveystheimagesofJapanesespring.

137ChapterVI.ConclusionAsFukushimadescribed,themainintentionofhiscompositionistoinfu

setheconceptofnatureintohismusic.TheelementsheadoptsfromNoh-

theaterandZenBuddhismareaspectsofthereflectionofnaturethatinformthesetraditions.Eventh

oughsomeofFukushima'sworksareinfluencedbyhisexperienceofwar,reflectionsofnaturesuch

asma,asymmetricalstructures,andtheorganicnatureofthemusic,remaintheessenceofthesew

orks.FukushimadoesnotdeliberatelyincludetonalreferencestoJapanesemusicinhismusic.Nei

therdoesheintendtoincludeanyperformancetechniquesspecifictotraditionalJapaneseinstrum

ents.Rather,heisworkingwithbroaderconceptsofJapaneseculture.Hisonlypurposethroughout

hiscompositionalcareeristoreflecttheconceptofnatureasheunderstandsit.Throughouthiscom

positionalcareer,theprogressofFukushima'sintentionisshownclearlyinhismusic.Thethreesolo

flutepiecesdiscussedhereserveasexcellentexamplesoftheevolutionofthisprogression.Inthes

ethreeworkswecanseehowhemovesfurtherfromWesternconventionandfindhisowncompositi

onalvoice.RequiemwaswrittenintheinitialstagesofFukushima'scompositionalcareer.Fukushi

maadoptedthetwelve-

tonetechnique,oneofthemostsystematicandartificialcomposingtechniques,toconstructthepie

ce.Bymanipulatingthelengthofthetonerowsandmusicalphrasesaswellas

138therelationshipbetweenthem,Fukushimacreatesamonophoniemusicwithmultiplelayers.T

heinterplaybetweentheselayersshowsthatthephrasesgroworganically.Thephrasesareorgani

zedaccordingtotheWesternmetricsystem,butthesenseofmetricregularityisblurredbythetiesov

erthebarlinesandtheirregularlengthofthephrases.Tworestsemphasizedbythefermatatogethe

rwithothernon-emphasizedrestscreatetheintuitivespaceinthemusic,ma.Mei/Hi-

kyoisFukushima'smostwell-knownwork.Itwasthelastworkofhisperiodofserialism.Thetwelve-

tonetechniqueisextremelytwistedinthispiece.Noprominenttonerowisusedinthispiece.Onlythe

generalconceptoftwelve-

tonemusicispreserved.Apitchisnotrepeatedwithinasectionuntilallthepitchesinthecollectionar

eused(mostofthecollectionsinMeicontainelevenpitches).Animmediaterepetitionofapitchorafr

agmentisnotconsideredastherepetitionofthepitch.Bothcharacteristicsarestandardprocedure

softwelve-

toneoperation.Theorganicnatureofthemusicisconveyedthroughthegrowthofthepitchsets.The

pitchsetsareexpandedthroughtheinsertionofthequarter-

tonegracenotes.Theprogressofexpandingthesetsisthussubtleandspontaneous.Theconcept

ofmaisshownnotonlyintherestsemphasizedbyafermata,butalsothroughtheomittedpitchfromt

hetwelve-

tonecollection.TheWesternmetricsystemisalmostcompletelyunderminedbytheprevailingtripl

etsandtiesoverthebarlines.Shun-

sanisthemostrecentofthethreeworksdiscussedinthisdissertation.Themusicis

139notateciingraphienotation.Inthisspecificnotatedway,theWesternmetricsystemisnolonger

operative.Thelengthofthephrasesthuscanonlybedeterminedapproximatelybyintuition.Nosyst

emicconstructionsuchasthestricttwelve-

tonetechniqueinRequiemortheWesternABAforminMeidominatesinShun-

san.ThestructureofthemusiccoincideswiththeWesternABAandarchforms,butisrathermoreco

mplicated.Thelinearmelodiclineisfilledinwithquarter-tones.Thequarter-

tonedoesnotplayasubordinateroleasitdidinMei,buthasaprominentcharacter.Thelinearmelodi

clineisthussmootherthaninthepreviousworks.Notonlydoesthemelodyprogressinasubtlemotio

n,butalsothetimbregrowsinasubtleway.Fukushimausedspecificfingeringstocreatethetimbreh

edesired.HealsomadetimbreanothermeansbywhichtoshowthetensionbuildingconceptoftheJ

apaneseJo-Ha-

Kyuform.Themanipulatingoftimbraiprogressionisevenmoreobviousinthe1969versionoíShun

-san.FukushimausedthreedifferentfingeringsforthesameG-

sharpatthebeginningofthepiecetocreateanextremesensitivityandsubtlenessoftimbraimotion.

ThelayersinShun-

san,includingmelody,timbre,anddynamic,allmoveinagradualprogression.Thus,thispiececan

beconsideredas"organic."Theconceptofmaisnotonlypresentedaudibly,butalsovisually.Thes

pacescreatedbythelongnotesandthesilencesbetweenthemprovidetheaudiblematothelistene

r.Theblankportiononthescoreresultingfromtheunconventionalnotationisthevisualmatotheper

former.

140EachofFukushima'sworkshasadifferentsubjectandcharacter.Someworksrevolvearoundi

magesofdeath,othersarerelatedtoimagesofflowerorwater.Regardingcompositionaltechnique

,PoésieininterrompueisbasedonMessiaen'smodesandrhythm,whileseveralsubsequentwork

sareconstructedusingtwelve-

tonetechnique,andthelateworksaremoreabouttheevolutionofsonority.Thereis,however,abasi

cessencethatremainspresentinallofhiswork:thereflectionofnature.Thoseelementstakenfrom

Noh-

theaterandZenBuddhismaresimplywaystoexpressFukushima'snotionofnature.Thethreesolo

fluteworkschronologicallypresentFukushima'sprogressinunbindingthestrictconventionsofW

esternmusicalconstructionandintheattainmentofhisultimategoal,thereflectionofnatureinmusi

c.

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146Appendix.TheWorksofKazuoFukushima1953PoésieininterrompueJÊtËX.&l'^violinsolo1

956RequiemW^Xflutesolo1957Orpheus(compositionforthestage)^"/

l·~7xflute,clarinet,piano,2violins,viola,celloEkagraX7*7—

^y(concentration)altoflute,piano1958KadhaHihakuWßfRÖJl(poemoftheflyingspirit)2violins,v

iola,cello,piano,o-tsuzumiChu-u(compositionforthestage)?

^"(theduration,49days,ofadeceasedperson'sjourneytotheotherworld)flute,cello,piano1959K

adhaHihaku{v.2)M^Wnchamberorchestra1960Juzu-juI&Ä/

E(hymnforcountingBuddhismbeads)voices,orchestraThreePiecesfromChu-uG?

^j=t93'ZXD'hmiflute,piano1961KadhaKarunaW&MÊÎW(poemofcompassion)2flutes,piano,o-

tsuzumiShizu-

uta^MWiX(ancienttunesforwomen)sopranosolo,femalechorus,2flutes,harp1962KadhaKaru

na(v.2)W&MSM'%2Mflute,pianoMei^(dim,dark,intangible)flutesoloHi-

kyoff^ijl(flyingmirror)flutesolo,orchestra1965Tsukishiro^%

(thespiritofthemoon)orchestra1967Suirin7}fMi(theringofthewater)2piano,2percussions1968

ARingoftheWindJH(7)frapianosolo1969Shun-san#§ff(thehymntospring)flutesolo

1471970RankeiUli(RanisafabulousbirdinChinesemythology.Keimeansmirror.)oboesolo197

1Raiil(harmonyofsound)flute,piano1972Suien7jC®(hazymistfromwaterfall)pianosolo1973K

ashin^'b(theheartoftheflower)2shakuhachi,biwa,percussion,doublebass1975Kaei~V¿W>(th

eshadowoftheflower)shakuhachiorflute,percussion1976Kashin(v.2)i|

>L·shakuhachi,biwa,harp,percussion1977RanjoSL^(disorderedsound)organ2007Poésieini

nterrompue(v.2)3ÉIÊ?.#I^Ifflutesolo

148VitaChung-

LinLeeisanativeofKaohsiung,Taiwan.HeearnedaBachelorofFineArtsdegreeandCertificatefo

rTeacherEducationProgramfromNationalSunYet-

sanUniversityinTaiwan,aMasterofMusicdegreefromtheUniversityatBuffalo,theStateUniversit

yofNewYork,wherehewasateachingassistantinperformanceandtheory.In2010,heearnedhis

DoctorofMusicalArtsDegreeinfluteperformanceaswellasGraduateCertificateinMusicTheorya

ttheUniversityofWashington.

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