Works for Flute Solo Fukushima

Table of Contents Page List of Figures ii List of Musical Examples iii List of Tables ? Introduction 1 Chapterr I: Chapte I: Kazuo Fukushima's Life and and Music 4 Chapter II: The Influence of Japanese Culture in Fukushima's Music 20 Chapter III: Requiem'. 38 Chapter IV: Mei 62 Chapter Chapt er V: ShunShun-san san 94 Chapter VI: Conclusion 137

Bibliography 141 Appendix: The Works of Kazuo Fukushima 146

List of Figures Figure Number Page 1.1. Robert Craft's Messageon Concert Brochure 122.1.VisualPresentationofJo-Ha122.1.VisualPresentationofJo-HaKyuForm232.2.SonataFormandJo-Ha-KyuForm354.1.DesignationfortheSetwithQuarterTone754.1.LineGraphofRhythmicStructureofMei805.1.ThreeFingeringsforGSharp1055.2.DynamicandTimbraiProgression Sharp1055.2.Dyna micandTimbraiProgressioninSection11095.3.Dyna inSection11095.3.DynamicLineGraphofShun micLineGraphofShun -san117Il

List of Musical Examples ExampleNumberPage2.1.RequiemforFluteSolo,mm.1118252.2.SuienforPiano,p.7312.3.EkagraforAltoFluteandPiano,mm.1720362.4.MeiforFluteSolo,mm.16363.1.PrimaryRowofRequiem413.2.PhraseandToneRowStructureinRequiem,mm.16423.3.Requiem,mm.1-3453.4.Requiem,mm.4-6andItsReduction463.5.Requiem,mm.1923483.6.CSEG(CSEG)MotivesinRequie 23483.6.CSEG(C SEG)MotivesinRequiem493.7.ThePhrasea m493.7.ThePhraseandTonendToneRowStructureinmm.37-44523.8.RhythmicStructureinmm.4-

6554.1.PitchAggregatesinMei704.2.ThreePiecesfrom"Chu-u",III724.3.PitchSetStructureofMei,mm.1-8744.4.Pitch-SetStructureofMei,mm.7-15764.5.PitchSetStructureofMei,mm.2548774.6.TheFourBasicNohkanDance 48774.6.TheFourBas icNohkanDancePatterns,asTranscribe Patterns,asTranscribedbyWilliamMalm834.7.TheAc dbyWilliamMalm834.7.TheAccc entedGraceNoteGestureinMei,mm.37-38895.1.ClefPlacementinShunsan985.2.ExamplesofLocatorsinShun-san1 san985.2.Example sofLocatorsinShun-san1025.3.MultiphonicGroupsinShu 025.3.MultiphonicGroupsinShun-san,bb.62n-san,bb.6267Ill5.4.ExamplesofQuasi-PortamentoGesture1145.5.StructuralSketchofShunsan,Section1119iii 5.6.StructuralSketchofShun-san,SectionII1235.7.StructuralSketchofShunsan,SectionIII127IV

List of Tables TableNumberPage3.1.IntervalContentofthePrimaryRow TableNumberPage3 .1.IntervalContentofthePrimaryRow413.2.FormalStructureofRequiem4 413.2.FormalStructureofRequiem4 43.3.FormalStructureofSectionII483.4.SuggestedFing 43.3.FormalStructureofSection II483.4.SuggestedFingeringsforHarmonics604.1.S eringsforHarmonics604.1.Structureof tructureof Hi-kyo664.2.StructureofMei674.3.StructureofSectionBinMèi684.4.SuggestedQuarterToneFingeringsinMei905.1.Comparisono ToneFingeringsinM ei905.1.ComparisonofFingerings1025.2.Comparisono fFingerings1025.2.ComparisonofDynamics1075.3 fDynamics1075.3 .SectionalStructureofShun-san1165.4.StructureofSectionIinShun-san120?

Dedication Thisdissertationisdedicatedtotwowonderfulpeoplew Thisdissertationisdedic atedtotwowonderfulpeoplewhohavegreatlyinfluenc hohavegreatlyinfluencedmylife:Wenedmylife:WenKoLee,myfather,forhisunconditionalloveandsupport,andthelateCherylGobbettiHoffman(19532008),mybelovedteacherandmentor,notonly 2008),mybelovedtea cherandmentor,notonlyfortheintroductiontocontempor fortheintroductiontocontemporaryflutemusicthat aryflutemusicthat sheaffordedme,buthergreatencouragementfo sheaffordedme,buther greatencouragementformymusicalperformanc rmymusicalperformanceandstudies.Itisshew eandstudies.Itisshewhh oprovidedmewiththeinspirationtoundertakethep oprovidedmewiththeins pirationtoundertakethepresentdissertation.Vl resentdissertation.Vl

Acknowledgment Firstofall,IwouldliketoexpressparticulargratitudetoProf.DonnaShin Firstofall,Iwouldliketoexpres sparticulargratitudetoProf.DonnaShinforherguidanceand forherguidanceandadvisin advisin gthroughoutthedissertationprocess.Itwouldhav gthroughoutthedisserta tionprocess.Itwouldhavebeennexttoimposs ebeennexttoimpossibletocompletethisdissert ibletocompletethisdissert ationwithoutProf.Shin'shelpandguidance.Next,av ationwithoutProf.Shin'shelpa ndguidance.Next,averyspecialthanksmu eryspecialthanksmustgotoProf.KazuoFuk stgotoProf.KazuoFuk

6554.1.PitchAggregatesinMei704.2.ThreePiecesfrom"Chu-u",III724.3.PitchSetStructureofMei,mm.1-8744.4.Pitch-SetStructureofMei,mm.7-15764.5.PitchSetStructureofMei,mm.2548774.6.TheFourBasicNohkanDance 48774.6.TheFourBas icNohkanDancePatterns,asTranscribe Patterns,asTranscribedbyWilliamMalm834.7.TheAc dbyWilliamMalm834.7.TheAccc entedGraceNoteGestureinMei,mm.37-38895.1.ClefPlacementinShunsan985.2.ExamplesofLocatorsinShun-san1 san985.2.Example sofLocatorsinShun-san1025.3.MultiphonicGroupsinShu 025.3.MultiphonicGroupsinShun-san,bb.62n-san,bb.6267Ill5.4.ExamplesofQuasi-PortamentoGesture1145.5.StructuralSketchofShunsan,Section1119iii 5.6.StructuralSketchofShun-san,SectionII1235.7.StructuralSketchofShunsan,SectionIII127IV

List of Tables TableNumberPage3.1.IntervalContentofthePrimaryRow TableNumberPage3 .1.IntervalContentofthePrimaryRow413.2.FormalStructureofRequiem4 413.2.FormalStructureofRequiem4 43.3.FormalStructureofSectionII483.4.SuggestedFing 43.3.FormalStructureofSection II483.4.SuggestedFingeringsforHarmonics604.1.S eringsforHarmonics604.1.Structureof tructureof Hi-kyo664.2.StructureofMei674.3.StructureofSectionBinMèi684.4.SuggestedQuarterToneFingeringsinMei905.1.Comparisono ToneFingeringsinM ei905.1.ComparisonofFingerings1025.2.Comparisono fFingerings1025.2.ComparisonofDynamics1075.3 fDynamics1075.3 .SectionalStructureofShun-san1165.4.StructureofSectionIinShun-san120?

Dedication Thisdissertationisdedicatedtotwowonderfulpeoplew Thisdissertationisdedic atedtotwowonderfulpeoplewhohavegreatlyinfluenc hohavegreatlyinfluencedmylife:Wenedmylife:WenKoLee,myfather,forhisunconditionalloveandsupport,andthelateCherylGobbettiHoffman(19532008),mybelovedteacherandmentor,notonly 2008),mybelovedtea cherandmentor,notonlyfortheintroductiontocontempor fortheintroductiontocontemporaryflutemusicthat aryflutemusicthat sheaffordedme,buthergreatencouragementfo sheaffordedme,buther greatencouragementformymusicalperformanc rmymusicalperformanceandstudies.Itisshew eandstudies.Itisshewhh oprovidedmewiththeinspirationtoundertakethep oprovidedmewiththeins pirationtoundertakethepresentdissertation.Vl resentdissertation.Vl

Acknowledgment Firstofall,IwouldliketoexpressparticulargratitudetoProf.DonnaShin Firstofall,Iwouldliketoexpres sparticulargratitudetoProf.DonnaShinforherguidanceand forherguidanceandadvisin advisin gthroughoutthedissertationprocess.Itwouldhav gthroughoutthedisserta tionprocess.Itwouldhavebeennexttoimposs ebeennexttoimpossibletocompletethisdissert ibletocompletethisdissert ationwithoutProf.Shin'shelpandguidance.Next,av ationwithoutProf.Shin'shelpa ndguidance.Next,averyspecialthanksmu eryspecialthanksmustgotoProf.KazuoFuk stgotoProf.KazuoFuk

ushima.Hehasbeensokindtooffermesom ushima.Hehasbeen sokindtooffermesomuchpreciousinformation uchpreciousinformationandsomanymaterials.Ialso andsomanymaterials.Ialso wouldliketooffermythankstoSarahBassingthw wouldliketooffermythanks toSarahBassingthwaighteandTimothyKins aighteandTimothyKinsellafortheirhelpinproofr ellafortheirhelpinproofr eadingandeditingmywritings.Lastly,Iowemydee eadingandeditingmy writings.Lastly,Iowemydeepestgratitudetoallthosew pestgratitudetoallthosewhoextendedtheirass hoextendedtheirass istanceandsupportduringthecompletionofthis istanceandsupp ortduringthecompletionofthisproject.ManythankstoZ project.ManythankstoZartDombourianartDombourianEby,RobertTunstall,Hui-MeiChen,Chen-ChangLiu,Chen-HuiJen,ShengMingChang,and,ofcourse,myfamily.VII 1IntroductionKazuoFukushima(b.1930)iso 1IntroductionKazuoF ukushima(b.1930)isoneoftheearliestJapanes neoftheearliestJapanesecomposerstobek ecomposerstobeknownb nownb yaWesternaudience.Activeasacompos yaWesternaudience. Activeasacomposerduringthe1960s,hew erduringthe1960s,hewashighlyacclaimedby ashighlyacclaimedbyseveralm severalm ajorfiguresofWesternmusic,includingcomposerIg ajorfiguresofWesternmusic,inc ludingcomposerIgorStravinsky,conductorR orStravinsky,conductorRobertCraft,andfluti obertCraft,andfluti stSeverinoGazzelloni.Alargebodyofhisworkiswrittenforflute.Mei,hismostwellknownwork,isconsideredanimportantpartofthe knownwork,isc onsideredanimportantpartofthecontemporaryfluterepertoire.Toda contemporaryfluterepertoire.Today,however, y,however, Fukushimaisknownmainlyasamusicolog Fukushimaisknow nmainlyasamusicologist.Heisdevotedtothestu ist.HeisdevotedtothestudyandcollectionofJa dyandcollectionofJapanese panese gagakumusic.Becauseofhisextraordinaryres gagakumusic.Bec auseofhisextraordinaryresearchcontributionstoJa earchcontributionstoJapanesemusichistory panesemusichistory,Fu ,Fu kushima'smusicwasoverlookedforoverad kushima'smusicw asoverlookedforoveradecadeby ecadebyWesternscholarsuntilthe1990s.P Westernscholarsuntilthe1990s.Priortothe riortothe 1990s,themajorresearchonFukushimainthe 1990s,themajorresearc honFukushimaintheWestwasashortsectionabo WestwasashortsectionaboutMeiinKatherineHay' utMeiinKatherineHay' s1980dissertation,"EastAsianInfluenceontheCompo s1980dissertation,"Eas tAsianInfluenceontheCompositionandPerformance sitionandPerformanceofContemporary ofContemporary FluteMusic".Thiswork,intheopinionofthepresentauthor,re FluteMusic".Thiswork ,intheopinionofthepresentauthor,reflectssomemisunderstand flectssomemisunderstandingsofFu ingsofFu kushima'smusic.Thisismostlikelyduetothelack kushima'smusic.Thisi smostlikelyduetothelackofinformationaboutJapanes ofinformationaboutJapanesemusicandculture emusicandculture atthattime.Acommonmisunderstandinginearlierresearchw atthattime.Acommonmisund erstandinginearlierresearchwastoconsidertheshaku astoconsidertheshakuhachiasthe hachiasthe mainreferenceofMei.Thismisconceptionwasnotc mainreferenceofMei.Thismisc onceptionwasnotcorrecteduntil2008whenM orrecteduntil2008whenMihoko ihoko 2Watanabepublishedheressay,"TheEs 2Watanabepublishe dheressay,"TheEssenceofMei:AnEx senceofMei:AnExplorationoftheInspirationbehind plorationoftheInspirationbehindMei Mei throughInterviewswiththeComposer."Watanabe'sarticleid throughInterviewswiththeCo mposer."Watanabe'sarticleidentifiestheJapanesenohk entifiestheJapanesenohkanfluteas anfluteas themaintimbraireferenceofthepiece.Sincethe1990s,Fuk themaintimbraireferenceofthepiec e.Sincethe1990s,Fukushima'smusichas ushima'smusichasreceivedmoreatte receivedmoreatte ntionbyWesternmusicians.Earlyinthedecade, ntionbyWesternmusici ans.Earlyinthedecade,EberhardBlummadean EberhardBlummadeanalbumofFukushima's albumofFukushima'sflut flut eworks.Releasedin1992,itisthefirstcomprehens eworks.Releasedin1 992,itisthefirstcomprehensivecollectionofFukush ivecollectionofFukushima'sworksincethe197 ima'sworksincethe197 8recordingbyRobertAitken.BothWatanabe'se 8recordingbyRobertAitk en.BothWatanabe'sessayandConstanc ssayandConstanceKelley's2008diss eKelley's2008dissertation," ertation," UnaccompaniedFluteRepertoireInfluencedby UnaccompaniedFlu teRepertoireInfluencedbytheJapaneseShaku theJapaneseShakuhachi:AnExamination hachi:AnExaminationofThr ofThr eeRepresentativeTwentiethCenturyWorks,"discussFukushima'smusice CenturyWorks,"discus sFukushima'smusicextensivelyandshow xtensivelyandshowadeeperandmorecompre adeeperandmorecomprehen hen siveunderstandingofhiscompositionalproces siveunderstanding ofhiscompositionalprocessandtheelements sandtheelementsthatinformit.Thecurrentdocum thatinformit.Thecurrentdocum entsanddissertationsaboutFukushima's entsanddissertations aboutFukushima'sflutemusic,however,mainly flutemusic,however,mainlyfocusonitsmusicologicala focusonitsmusicologicala

ndethnomusicologicalaspects.ThisdissertationintendstoapproachFukushima'smusicfromath eoreticalaspect,aswellasfromtheperspectiveofaperformer.Thestructuralanalysisundertaken bythepresentauthorservestoconfirmandexpandupontheethnomusicologicalperspectivespre sentedbypreviousresearch.Theauthoralsooffersperformancesuggestionsbaseduponthatana lysis,aswellasontheauthor'sownsubjectiveexperience.Thethreepiecesforsoloflutediscussedi nthepresentdissertationserveasavehicletoward 3theevolutionofFukushima'smusicalconcept.Thethreeworksspanoveradecadebetween1956 and1969.TheyillustratetheprogressivedevelopmentofFukushima'scompositionalvoice.Thee xpressionofaconceptofnaturerootedinZenBuddhismandNohtheateriscentraltoFukushima'smusicalquest.Concurrently,wemayobservehisprogressiveaba ndonmentofWesternmusicalconventionsandhisdevelopmentofauniquenotationalsystem.Th us,hisconceptsmaybeconveyed. 4

Chapter I. Kazuo Fukushima's Life and Music Early Life

KazuoFukushimawasbornin1930inTokyo.Thegenerationborninthe1930sgrewupinatimedes cribedbyJapanesewriterRyotaroShiba(19231996)as"thecraziestyearsinJapanesehistory."1ThisgenerationgrewupduringtheSecondWorl dWar(19391945).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),67.2KazuoFukushima,interviewedbytheauthorwithtranslatorRobertTunstall,February6,2010, Tokyo. 5wasattackedfromtheair.ThebombardmentmadeFukui,whichwascalled"thecityofspinning,"c ompletelyflatinonenight.Myfamilymembersdecreasedfromseventofour.Iwasveryyoungatthat time.ItwasamiraclethatI,asanonmilitarymember,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"),Chuu(1959,"TheJourneyoftheDeadPeople"),andMei(1962,meaning"dark,"aswellashavingtheim plicationof"theworldofthedeath").Otherworkseitherimplytheimageofdeathintheirtitle,suchasT sukishiro(1965,"TheSpiritoftheMoon"),orpresentadarkandheavycharacterinthemusic.Thepr evalenceA