A PERFORMANCE AND PEDAGOGICAL GUIDE TO THE PIANO MUSIC
BY MAKIKO KINOSHITA
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE
DOCTOR OF ARTS IN MUSIC
BY
YUKA NAKAYAMA
DISSERTATION ADVISORS: DR. RAY KILBURN AND DR. HEATHER PLATT
BALL STATE UNIVERSITY
MUNCIE, INDIANA
MAY, 2011
ACKNOWLEDGEMENTS
I am indebted to many who supported this project. I would especially like to
acknowledge the encouragement of Dr. Ray Kilburn, who gave me piano lessons,
continuous support and advice for helping me to better understand and interpret the
music. I am also extremely grateful to Dr. Heather Platt, who guided me through the
dissertation writing process, and Dr. Michael Oravitz, who helped with the analysis of the
music. Further thanks are due to Makiko Kinoshita, the composer of this project, who
helped me collect all of her scores and agreed to be interviewed.
My sincere thanks are due to my friends, Laura Dallman, Andrew Ayers, and
Peter John. Laura has assisted with the editing and proofreading process of this document
throughout its many stages, giving me her time and critical writing skills, for which I am
very grateful. Andy has assisted with the recording and editing process, and he has been
very supportive and cooperative throughout the long process of recording and editing. He
always created a most comfortable recording environment in which I could solely focus
on my playing and sound. Peter helped me by designing the CD cover and giving me
many interesting ideas in my playing, as well as proofreading and correcting my
document.
Finally, heartfelt thanks are due to my family in Japan, who generously supported
my studies in the U.S., and to Yuko Ishikawa, a dear friend, who helped me find some of
the scores in Japan.
ii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS…………………………………………………………
TABLE OF CONTENTS……………………………………………………………
LIST OF MUSICAL EXAMPLES, TABLES, AND FIGURE……………………..
CHAPTER
1. INTRODUCTION……………………………………………………..........
Introduction………………………………………………………...
Review of the Literature……………………………………………
Significance of the Research……………………………………….
Methodology……………………………………………………….
Organization………………………………………………………..
2. COMPOSER, MAKIKO KINOSHITA……………………………………..
Life and Works of Makiko Kinoshita………………………………
Piano Music………………………………………………………...
3. PEDAGOGICAL AND PERFORMACE CONSIDERATIONS…………...
9 Preludes..........................................................................................
A Circuit of Dreams………………………………………………..
Alice in Wonderland………………………………………………..
Works for Children…………………………………………………
Hop, hop (1988)………………………………………
The Lion with the GI haircut (1989)………………….
Song Sung by a Dog Looking at its own Tail (1990)…
Children’s Song of Africa (1991)…………………….
Soft Bavarian Cream (1994)………………………….
A Memorable Lemon Pie (1995)……………………...
Waku Waku [Exciting] (2000)………………………..
Uto Uto [Dozing] (2003)……………………………..
Moa (2006)…………………………………………...
E.q.quagga (2007)……………………………………
Mother Goose………………………………………………………
4. CONCLUDING REMARKS………………………………………………..
A Summary of Kinoshita’s Piano Music…………………………...
My Final Impressions………………………………………………
APPENDICES
A
A List of Kinoshita’s Musical Works………...
B
Piano Solo Works with Difficulty Level……..
C
Recording Contents of Accompanying CDs….
BIBLIOGRAPHY …………………………………………………………………..
iii
ii
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iv
1
1
2
4
6
7
9
9
15
20
21
57
71
97
97
99
100
101
101
103
104
106
106
109
113
122
122
124
126
137
139
141
LIST OF MUSICAL EXAMPLES
Example
Page
3.1
Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 1-10…………………..
24
3.2
Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 112-129………………
24
3.3
Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 51-61…………………
25
3.4a
Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 62-71…………………
25
3.4b
Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 124-129………………
25
3.5
Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 1-4……………………
27
3.6
Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 21-30…………………
28
3.7
Makiko Kinoshita, 9 Preludes, Prelude 3, mm. 1-12…………………..
30
3.8
Debussy, Etude, pour les accords, mm. 1-4……………………………
30
3.9
Prokofiev, Piano Concerto no. 3 in C major, Op.26, I, mm. 23-24…….
31
3.10
Shostakovich, Piano Concerto No. 1, Op. 35, I, mm. 22-23…………...
31
3.11
Makiko Kinoshita, 9 Preludes, Prelude 3, mm. 19-26…………………
32
3.12
Makiko Kinoshita, 9 Preludes, Prelude 4, mm. 1-3……………………
33
3.13a
Makiko Kinoshita, 9 Preludes, Prelude 4, mm. 16-28…………………
35
3.13b
Beethoven, Sonata, Op.10 no.1, II, mm. 1-16………………………….
35
3.14
Ravel, Forlane, Tombeau de Couperin, mm. 1-4………………………. 36
3.15a
Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 1-6……………………
36
3.15b
Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 35-37…………………
37
3.16
Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 53-58…………………
38
3.17
Makiko Kinoshita, Alice in Wonderland, no.2, mm. 45-48……………. 38
iv
3.18
Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 41-52…………………
39
3.19
Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 1-6……………………
40
3.20
Chopin, Prelude Op. 28, no. 4, E minor, mm. 1-4……………………...
41
3.21a
Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 9-12…………………..
41
3.21b
Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 60-61…………………
42
3.22
Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 25-33…………………
43
3.23
Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 1-15…………………..
44
3.24
Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 30-41…………………
45
3.25
Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 68-77…………………
45
3.26
Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 10-15…………………
46
3.27a
Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 1-4……………………
47
3.27b
Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 26-30…………………
47
3.28
Makiko Kinoshita, Alice in Wonderland,no.5, mm. 1-4……………….. 48
3.29
Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 16-23…………………
3.30a
Makiko Kinoshita, Alice in Wonderland, no. 5, mm. 69-73…………… 49
3.30b
Makiko Kinoshita, A Circuit of Dreams, I, mm. 82-89………………...
50
3.31
Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 49-55…………………
50
3.32
Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 20-27…………………
52
3.33a
Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 78-84…………………
53
3.33b
Makiko Kinoshita, A Circuit of Dreams, II, mm. 119-204…………….. 53
3.34
Makiko Kinoshita, 9 Preludes, Prelude 9, mm. 35-37…………………
54
3.35a
Makiko Kinoshita, A Circuit of Dreams, I, mm. 24-26………………...
59
v
49
3.35b
Makiko Kinoshita, Twisting Landscapes, II, mm. 15-17………………
59
3.36
Makiko Kinoshita, A Circuit of Dreams, I, mm. 1-2…………………...
59
3.37
Makiko Kinoshita, A Circuit of Dreams, I, mm. 33-34………………...
61
3.38
Makiko Kinoshita, A Circuit of Dreams, I, mm. 40-43………………...
61
3.39
Makiko Kinoshita, A Circuit of Dreams, I, mm. 1-2…………………...
63
3.40a
Makiko Kinoshita, A Circuit of Dreams, I, m. 13……………………...
63
3.40b
Makiko Kinoshita, A Circuit of Dreams, I, mm. 55-56………………...
63
3.41
Makiko Kinoshita, Twisting Landscapes, III, mm. 36-38……………...
64
3.42
Makiko Kinoshita, A Circuit of Dreams, II, mm. 1-19………………… 66
3.43
Makiko Kinoshita, A Circuit of Dreams, II, mm. 37-38……………….. 67
3.44
Makiko Kinoshita, A Circuit of Dreams, II, mm. 89-94……………….. 67
3.45
Makiko Kinoshita, A Circuit of Dreams, II, mm. 169-180…………….. 69
3.46
Makiko Kinoshita, A Circuit of Dreams, II, mm. 237-241…………….. 69
3.47
Makiko Kinoshita, Alice in Wonderland, no.1, mm. 10-14……………. 73
3.48
Makiko Kinoshita, Alice in Wonderland, no.2, mm. 5-8………………. 74
3.49
Makiko Kinoshita, Alice in Wonderland, no.2, mm. 11-12……………. 74
3.50
Makiko Kinoshita, Alice in Wonderland, no.2, mm. 41-52……………. 75
3.51
Makiko Kinoshita, Alice in Wonderland, no.3, mm. 1-4………………. 76
3.52
Makiko Kinoshita, Alice in Wonderland, no.3, mm. 21-24……………. 77
3.53
Makiko Kinoshita, Alice in Wonderland, no.3, mm. 33-44……………. 77
3.54
Makiko Kinoshita, Alice in Wonderland, no.3, mm. 56-61……………. 78
3.55
Makiko Kinoshita, Alice in Wonderland, no.4, mm. 19-25……………. 80
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3.56
Makiko Kinoshita, Alice in Wonderland, no.4, m. 27……………...…..
3.57
Makiko Kinoshita, Alice in Wonderland, no.5, mm. 29-32……………. 81
3.58
Makiko Kinoshita, Alice in Wonderland, no.6, mm. 1-3………………. 82
3.59
Makiko Kinoshita, Alice in Wonderland, no.7, mm. 3-4………………. 84
3.60
Makiko Kinoshita, Alice in Wonderland, no.7, mm. 52-57……………. 85
3.61a
Makiko Kinoshita, Alice in Wonderland, no.7, m. 63………………….
85
3.61b
Makiko Kinoshita, Alice in Wonderland, no.7, mm. 83………………..
85
3.62a
Makiko Kinoshita, Alice in Wonderland, no.7, mm. 67-75……………. 86
3.62b
Makiko Kinoshita, Alice in Wonderland, no.7, mm. 116-121…………. 86
3.63a
Makiko Kinoshita, Alice in Wonderland, no.7, m. 26………………….
3.63b
Makiko Kinoshita, Alice in Wonderland, no.7, mm. 104-105…………. 88
3.64
Makiko Kinoshita, Alice in Wonderland, no.8, mm. 1-7………………. 88
3.65
Makiko Kinoshita, Alice in Wonderland, no.8, mm. 89-92……………. 89
3.66
Makiko Kinoshita, Alice in Wonderland, no.8, mm. 76-77……………. 89
3.67
Makiko Kinoshita, Alice in Wonderland, no.9, mm. 74-75……………. 92
3.68
Makiko Kinoshita, Alice in Wonderland, no.9, mm. 88-96……………. 93
3.69
Makiko Kinoshita, Alice in Wonderland, no.9, mm. 140-143…………. 93
3.70
Makiko Kinoshita, Alice in Wonderland, no.10, mm. 1-9……………... 94
3.71
Makiko Kinoshita, Hop, hop, mm. 1-4…………………………………
98
3.72
Makiko Kinoshita, Hop, hop, mm. 16-25………………………………
98
3.73
Makiko Kinoshita, The Lion with the GI haircut, mm. 1-3…………….
99
3.74
Makiko Kinoshita, Song Sung by a Dog Looking at its own Tail, mm.
1-4………………………………………………………………………
100
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80
87
3.75
Makiko Kinoshita, Children’s Song of Africa, mm. 1-4……………….. 101
3.76
Makiko Kinoshita, Soft Bavarian Creme, mm. 12-16………………….
102
3.77
Makiko Kinoshita, Soft Bavarian Creme, mm. 20-27………………….
103
3.78
Makiko Kinoshita, Soft Bavarian Creme, mm. 8-11…………………...
103
3.79
Makiko Kinoshita, A Memorable Lemon Pie, mm. 17-20……………... 104
3.80a
Makiko Kinoshita, Waku Waku [Exciting], mm. 16-18………………..
105
3.80b
Makiko Kinoshita, 9 Preludes, Prelude 7, mm. 16-18…………………
105
3.81a
Makiko Kinoshita, Waku Waku [Exciting], m. 25……………………... 105
3.81b
Makiko Kinoshita, 9 Preludes, Prelude 5, m. 21………………………. 105
3.82
Makiko Kinoshita, Uto Uto, mm. 1-3………………………………….. 106
3.83a
Makiko Kinoshita, Moa, mm. 1-8……………………………………...
3.83b
Makiko Kinoshita, Alice in Wonderland, no.8, mm. 8-9………………. 108
3.83c
Makiko Kinoshita, Alice in Wonderland, no.9, mm. 1-2………………. 108
3.84
Makiko Kinoshita, Moa, mm. 9-12…………………………………….
109
3.85
Makiko Kinoshita, E.q.quagga, mm. 10-11……………………………
110
3.86
Makiko Kinoshita, E.q.quagga, mm. 19-22……………………………
110
3.87
Makiko Kinoshita, E.q.quagga, mm. 27-29 …………………………..
110
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107
LIST OF TABLES
Table
Page
2.1
Kinoshita’s Solo Piano Music Makiko Kinoshita………………………. 17
3.1
Summary of 9 Preludes............................................................................
3.2
Form of A Circuit of Dreams, I…………………………………………. 60
3.3
Form of A Circuit of Dreams, II………………………………………...
65
3.4
Form of “A Mad Tea-Party Never Ends”……………………………….
83
3.5
Form of “The Queen’s Croquet-Ground”………………………………. 90
3.6
Form of “The Trial in a Muddle”……………………………………….. 91
3.7
Summary of Technical Focuses in Alice in Wonderland……………….. 95
3.8
Summary of Technical Focuses in Works for Children………………...
3.9
Summary of Technical Focuses in Mother Goose……………………… 121
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55
112
LIST OF FIGURES
Table
3.1
Page
Illustration excerpt from “Alice in the Golden Afternoon”…………….. 72
x
CHAPTER 1
INTRODUCTION
Introduction
Makiko Kinoshita was born in 1956 in Tokyo, Japan, eleven years after the end of
World War II. The conclusion to the war marked the reopening of Japan to the West, and
the end of an era in which Japan was culturally xenophobic and closed to foreign
influences. Composers of that closed-off generation, such as Toru Takemitsu (19301996) and Toshiro Mayuzumi (1929-1997), retained a more traditional Japanese sound
which appealed to western audiences and composers.1 For example, Takemitsu often
used traditional Japanese instruments in his orchestral works, including November Steps
(1967), and Mayuzumi used shomyo, or Japanese Buddhist chant, in his Symphony
Nirvana (1959). Kinoshita’s music, however, reflects a very different Japan. In the 1950s
Japanese traditions became entwined with those of the West, forming a more blended
culture. Kinoshita’s music does not have the distinctive ethnic flavor western audiences
came to expect after becoming acquainted with the work of her forerunners. Perhaps this
is one reason why her music remains relatively obscure outside of Asia.
Because Kinoshita’s works are not widely studied outside of Asia, the goal of this
project is to introduce Kinoshita’s music to the United States. I have recorded Kinoshita’s
1
These sounds were called hogaku or dentou ongaku [Japanese traditional music]. See Hugh de Ferranti,
“'Japanese Music' Can be Popular,” Popular Music 21, no. 2 (May, 2002): 197.
2
complete piano solo works2 and, in the following chapters, I provide a supplemental
performance guide to help performers and piano teachers better understand the composer
and her music. The guide includes a brief analysis of each piece, focusing on pedagogical
and interpretive concerns.
Review of the Literature
Resources concerning the life and work of Makiko Kinoshita are very limited.
There are no scholarly studies about Kinoshita written in English,3 and therefore the
entirety of my research is based on literature written in Japanese. Through email
correspondence with the composer I have also confirmed that aside from two brief
articles which were primarily interviews, no-one has studied or analyzed her piano
works.4
Among the available resources, the website Music Composer, KINOSHITA,
MAKIKO: Official Web Site, prepared by the composer herself, is an excellent resource
discussing her life and works.5 It provides a detailed biography, information about
upcoming and past concerts, a list of works including both published recordings and
scores, and her blog. The blog is especially helpful because it provides insight into
Kinoshita’s views on music, art, and her own compositions. For this project, Kinoshita’s
writings will be subjected to careful review and consideration in order to maintain a
balanced perspective.
2
The recording includes her complete piano works as of 2011.
There are no records of any articles or books available on RILM, IIMP, Oxford Music Online, ProQuest
Dissertations and Theses, or JSTOR. Worldcat contains only scores, recordings and Yoku Waraku Gakuten.
4
Makiko Kinoshita, email message to author, January 23, 2009.
5
Makiko Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site,” http://www.mkinoshita.com/english.html (accessed January 29, 2011).
3
3
Another resource is Kinoshita’s interviews with the Japanese PTNA (Piano
Teachers National Association),6 the first of which occurred on 26 December 2008.7 The
interviewer, Eiko Sudo, focuses on Kinoshita’s piano works and her life and musical
identity as a Japanese composer, bringing to light Kinoshita’s personality and musical
influences. Kinoshita’s second interview occurred on 13 August 2010 in collaboration
with the pianist Takashi Obara (b. 1960). Obara is known for his interpretations of
Kinoshita’s piano works.8 The focus of this interview is Kinoshita’s piano duet
Labyrinthine Piano (2010), which is discussed by both Obara and Kinoshita.
Compositional style and an ideal interpretation of the piece are the two central topics.
My next resource is the music theory textbook written by Kinoshita Yoku Wakaru
Gakuten.9 Each chapter contains an essay by Kinoshita that comments upon various
aspects of music and musical performance: rhythm, harmony, tempi and articulation. She
also offers valuable insight into the performative aspects of her own music. This book is
aimed at people in choir or brass bands as well as music amateurs who want to learn how
to read music.
Other resources include prefaces to published scores, program notes, and liner
notes accompanying CDs, which are often written by the composer herself. The prefaces
6
ピティナ[PTNA] is a pedagogical organization for Japanese piano teachers. Official homepage:
http://www.piano.or.jp/
7
Eiko Sudo, “インタビュー第 11 回 木下牧子” [Interview 11: Professor Makiko Kinoshita; Piano
Pieces Made In Japan], Piano Teachers National Association,
http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed January 30, 2011).
8
Eriko Taniguchi, “特別インタビュー 小原孝先生×木下牧子先生対談” [Special Interview: Talk by
Mr. Takashi Obara and Ms. Makiko Kinoshita], Piano Teachers National Association,
http://www.piano.or.jp/report/news/2010/08/13_11190.html (accessed January 4, 2011). Obara has
recorded seven CDs. Six CDs include songs. Obara collaborated with two singers, Yumi Nozaki and
Yasuko Kamiya. One CD includes piano works for four hands, Labyrinthine Piano, Nami Records
WWCC-7640, CD, 2010.
9
Makiko Kinoshita, Yoku wakaru gakuten [Easily understandable music theory] (Tokyo: Natsume-Sha,
2008).
4
for the score of 9 Preludes and A Circuit of Dreams10 are of particular value because they
contain more information than her other scores.11 The liner notes to the two CDs which
contain Kinoshita’s piano works, Trembling Moon12 and Alice in Wonderland,13 are
interesting because they provide background information on the pieces but they do not
contain extensive discussions of Kinoshita’s music.
Although the literature listed above contains valuable information, most of these
sources do not offer specific guidance for the performer: they only offer more general
information. Thus, due to the absence of sustained studies, I have been forced to derive
my interpretations from general discussions of Kinoshita’s music and my own analyses.
Significance of the Research
This project aims to contribute research about Kinoshita’s music. Her innovative
music is rich both for the student and the professional. For example, several of her short
and relatively easy pieces for children have lively and imaginative names. These titles
relate the music to the child’s everyday life and stimulate musicality by binding musical
material with familiar situations, things, and feelings. Kinoshita’s more advanced works
showcase her original compositional style, which is influenced by the Western classical
tradition, pop, rock, and jazz.14 These pieces often combine rhythmic and harmonic
10
Makiko Kinoshita, A Circuit of Dreams (Tokyo: Edition KAWAI, 2007).
The majority of her scores simply include a biographical sketch.
12
The Trembling Moon, ALM Records/Kojima Recordings ALCD-71, CD, 2007. This recording contains
A Circuit of Dreams.
13
Alice in Wonderland, Victor Entertainment VICS-61218, CD, 1999.
14
Kinoshita’s compositional style sometimes resembles the styles of Debussy, Bartók, Prokofiev,
Stravinsky, Shostakovich, Chopin, and neo-classicists. Kinoshita often encountered pop, rock, and jazz
music during her childhood, and she often integrates aspects of these styles in her own music. More details
are discussed in chapters 2 and 3.
11
5
intricacies that present a challenge to the adult performer, yet remain thoroughly
enjoyable for the audience.
Yet accessing this wealth of music remains quite difficult. Many of Kinoshita’s
solo piano works have not yet been recorded15 and many of her scores are difficult to
find. The Collection of Piano Pieces by Composers for Children contains several pieces
of Kinoshita’s, but others are out-of-print. This collection is used for young students in
Japan, but it is not published outside the country. Kinoshita’s works are also not included
in standard references for pianists, such as Maurice Hinson’s Guide to the Piano
Repertoire.16 These factors must contribute to Kinoshita’s relative obscurity outside of
Asia and help explain the absence of her music from current concert repertoire.
Therefore, for this project I have compiled a comprehensive list of Kinoshita’s
piano music, recorded the pieces, and created a performance guide.17 The works of
Kinoshita can add musical variety and technical proficiency to the repertoire of any
pianist. This project will make it easier for pianists, teachers, and students to become
acquainted with Kinoshita’s works.
15
Alice in Wonderland and A Circuit of Dreams are the only two of Kinoshita’s solo piano pieces that have
been recorded on compact disc.
16
Maurice Hinson, Guide to the Pianist’s Repertoire, 3rd ed., (Bloomington, IN: Indiana University Press,
2000).
17
The performance guide should serve primarily as a teaching resource for teachers interested in improving
their students’ pianism.
6
Methodology
Scores for some of Kinoshita’s advanced piano solo works, such as the original and
revised versions of A Circuit of Dreams, are found in the United States.18 The scores of 9
Preludes and Alice in Wonderland, the CD Trembling Moon, and Yoku Wakaru Gakuten
were purchased in Japan. Some works for children and Mother Goose were obtained in
the Kunitachi Conservatory library in Tokyo, Japan. An unpublished piece, Fantasy, and
some out-of-print scores Waku Waku [Exciting], Uto Uto [Dozing], and Memorable
Lemon Pie were obtained by contacting the composer.
My performance guide includes a discussion of interpretative and pedagogical
concerns. I discuss the general style of the works and, in the manner of Hinson’s Guide to
the Piano Repertoire, rate the relative level of difficulty of each piece.19 Barbara
Nissman’s book Bartók and the Piano: A Performer’s View, provided a model for my
project. Nissman analyses the music and discusses performance practices and common
problems a performer might encounter. The book received positive reviews, and, in
particular, praise for the section devoted to performance issues.20 A supplemental CD
includes several of the pieces that are discussed in the book. A second model for my
project was the book Edvard Grieg and His Songs by Sandra Jarrett.21 This book, which
originated as doctoral research, focuses on fifty of Grieg’s 150 songs and discusses each
in terms of style, melody, harmony, text, and accompaniment.
18
9 Preludes can be purchased from www.sheetmusic.com, though the American price is more expensive
than the Japanese equivalent. Two libraries in the United States own A Circuit of Dreams.
19
Hinson’s Guide to the Piano Repertoire includes all the piano repertoire of a given composer, briefly
explains what each piece is, and rates its level of difficulty.
20
Barbara Nissman, Bartók and the Piano: A Performer’s View (Lanham, MD: Scarecrow Press, 2002).
Reviews are: Virginia Houser, review of Bartók and the Piano: A Performer’s View, by Barbara Nissman,
American Music Teacher 52, no. 6 (June/July 2003): 96, and David Witten, review of Bartók and the
Piano: A Performer’s View, by Barbara Nissman, Notes 60, no. 2 (December 2003): 452.
21
Sandra Jarrett, Edvard Grieg and His Songs (Burlington, VT: Ashgate, c2003).
7
Interviews with Kinoshita further enhanced my understanding of her music. She
discussed her identity as a Japanese composer, her influences, and her compositional
methods and styles. It was especially helpful to converse individually with her.
Preparation for the recording started in the fall of 2008. After thoroughly
preparing the repertoire, I had several recording sessions with the Music Technology
department at Ball State University. The recordings were made in Sursa Hall, the main
concert hall used by Ball State’s School of Music. Because of the extensive amount of
repertoire, it took several days. The editing process also involved working with Andrew
Ayers, a music engineer and editor, for several weeks. He is a student majoring in music
technology at Ball State University. To prepare the CD for publication, I collaborated
with a graphic designer, Peter John.
Organization
Chapter 2 provides an overview of Makiko Kinoshita’s life and compositions. It
concludes with a brief introduction to her compositions for piano, emphasizing her works
for piano solo. It includes information from my personal correspondence with Kinoshita,
in which she provided detailed information about her life and musical practices.
Chapter 3 discusses pedagogical and performance considerations of each piano
piece as well as their musical styles. Each set or group of pieces begins with an
introductory overview. The only exception is Mother Goose. Since this set consists of
fifteen folk songs that were arranged by Kinoshita, my discussion provides some brief
background information and centers on the technical focuses of each piece.
8
Chapter 4 consists of my concluding remarks followed by three appendices and a
bibliography.
CHAPTER 2
COMPOSER, MAKIKO KINOSHITA
Life and Works of Makiko Kinoshita
The early years
Kinoshita was born in Tokyo, Japan, on 20 September 1956. She began to play
the organ at the age of five and the piano by the age of six. Even though she later learned
the violin and flute, her dream was always to become a pianist. Following this dream,
Kinoshita attended the Music High School affiliated with the Tokyo National University
of Fine Arts and majored in piano performance. In her interview with Eiko Sudo,
Kinoshita revealed her musical environment in her youth.
…I grew up being more familiar with music from the West than Japanese
traditional music. When I was a child, I used to hear my neighbors practicing
Für Elise by Beethoven and sonatinas by Mozart and Clementi, not playing
traditional Japanese music. This music was some of the first music I listened to.
Later pop music, jazz, folk music, and Japanese music (hogaku) mixed with
Western music is what I would listen to. I think this chaos shows what the true
music of Japan is today.1
The high school years, 1972-1975
While she was at the high school, Kinoshita became interested in composition.
One of her first compositions was a cadenza to Mozart’s piano concerto in D minor K.
1
Eiko Sudo, “インタビュー第 11 回 木下牧子” [Interview 11: Professor Makiko Kinoshita; Piano
Pieces Made In Japan], Piano Teachers National Association,
http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed January 30, 2011).
10
466, for which she received high praise from her professors.2 She was also chosen to
compose music for a musical Christmas Carol to be performed at a school festival. While
Kinoshita still liked playing the piano, she wished to play not only music from western
countries but also her original compositions. Kinoshita remembers her experience of
piano playing in her high school years.
…Sight-reading on the keyboard was no problem for me. I used to play
repertoire from all musical periods. However, I was not a naturally expressive
player. It was difficult for me to connect with music on a deep emotional level
because I could learn most pieces in a short time. My piano teacher always
advised me to play more expressively but did not explain how to do so... I could
copy how my teacher played a piece, but I knew it did not help my musicality. If
my teacher was not there, I was not sure that that I would be able to play
musically by myself.3
After graduating from high school Kinoshita took a year off from school and studied
composition with Mareo Ishiketa (1916-1996). She took private lessons from Ishiketa,
but she also practiced composing by herself.
…I went to the library everyday and trained myself to compose fugues and
sonatas with an alarm clock. The entrance audition for the Tokyo National
University of Fine Arts major in composition required applicants to compose a
sonata on site in six hours without using any instruments. It was like a game and
was actually quite fun! I knew I should not use any modern harmonies or use
modern techniques of composition; instead needed to use only traditional
harmonies and compositional techniques. It was during this time that I would
compose music in a free and natural style in the mean time for fun.4
Orchestral works, 1976-1996
Kinoshita was admitted to the Tokyo National University of Fine Arts as a
composition major in March of 1976. Her composition teachers at the University
2
Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site.”
Sudo, “Interview 11: Professor Makiko Kinoshita.”
4
Ibid.
3
11
included Mareo Ishiketa, Toshiro Mayuzumi (1929-1997), Kenjiro Urata (b. 1941), and
Shozo Maruta (b. 1928). During 1976-77 Kinoshita composed several saxophone sonatas
and saxophone quartets; she was in love with the tones of these instruments.5 However,
she stopped composing saxophone works after 1977. In 1978 she began composing for
orchestra because she became interested in bigger orchestral sounds.6 After writing a
piano concerto in 1978, she completed two other orchestral works, Kangengaku no
tameno isshou (1978) and Koten (1979). They were played in premier concerts. At her
graduation, her university gave Kinoshita the award for the best composition of the year
for Koten.
Kinoshita attended the same school for graduate studies in composition from
1980-1982. In her twenties Kinoshita composed mainly orchestral works. Some of
Kinoshita’s awards for her orchestral music include the Nihon Ongaku Concours prize in
1982 for Fantasy (1977) and the “Outstanding Composition” award of the Japan
Symphony Foundation in 1988 for Aura for Orchestra (1986).7 She began earning a
reputation as a professional composer. Yet having orchestral works played was
expensive.8 The only way a composer could avoid paying performers was to have his or
her work played as a result of winning a competition. In the early 1980s many music
critics believed that avant-garde music was the “right” trend9 and Kinoshita realized that
she had to focus on showy effects and experimental techniques to win competitions: she
5
Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site.”
Makiko Kinoshita, liner note to Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD.
2007.
7
The Nihon Ongaku Concours is a music competition in Japan.
8
In Japan, composers who do not have sponsors need to hire orchestra members for their time for
rehearsals and performances.
9
Keichi Kubota, はじめての音楽史ー古代ギリシアの音楽から日本の現代音楽まで [Music history –
from ancient Greek to modern music in Japan] (Tokyo: Ongakuno-Tomo-Sha, 1998): 184.
6
12
could not compose music by following her heart.10 She composed seven orchestral works
and two wind orchestral works between her college years and her early 30s. However, her
frustration with not being able to compose from her heart grew more intense. Her
compositional interests gradually leaned toward choir music and songs.
Choral, vocal, and song works, 1980-present
As a result of the difficulties she experienced in getting her orchestral pieces
performed, Kinoshita decided to study vocal music. Her commissioned work Hakobune
(1980) became extremely famous among college choirs in Japan and was performed by
many groups.11 This success led to many more commissions for choir pieces and
Kinoshita was encouraged to compose more and more vocal music. Kinoshita’s choral
works have been sung in concerts and at local and national competitions by a wide
variety of groups.12 For example, Seagull (2008), a recent work for choir and orchestra,
was performed by the Tokyo Philharmonic Chorus and the Tokyo Symphony Orchestra
under Kazuki Yamada (b. 1979). Kinoshita has also been asked to compose songs and
anthems for schools.13 Among her more than eighty publications, sixty-four are for choir
and seven are song albums. Choral pieces were the bulk of her compositional output
during 1980-1999, and what gained her a national reputation as a choral composer. This
is why Kinoshita is mostly known in Japan for her choral pieces and vocal works.
10
Sudo, “Interview 11: Professor Makiko Kinoshita.”
A choir group, 東京外国語大学コール・ソレイユ [Choeur Soleil in Tokyo University of Foreign
Studies] commissioned Kinoshita to write choir music in 1980. Hakobune for mixed-voice was later
transcribed for male chorus in 1987 and revised in 2010.
12
Kinoshita’s choral pieces, such as 春に (Haruni) (1989), have over 212,000 views on Youtube.
13
群馬県立高崎東高等学校 [Gunmakenritu Takasaki Higashi high school] and 金沢市立杜の里小学校
[Kanazawa shiritu Morisnosato elementary school] commissioned Kinoshita to write their school songs.
11
13
Compositional exploration, 2000-present
In 2000 Norio Fukushi (b. 1945), the producer of Nihon Gendai Ongaku Kyokai,
the Japan Society for Contemporary Music, asked Kinoshita to compose a work for
percussion ensemble. In response, Kinoshita composed The Trembling Moon for four
percussion players. After its premiere, a performance of this work was broadcasted on the
radio by NHK-FM.14 This piece seemed to open a door for Kinoshita and she began
composing in multiple genres: opera, chamber, instrumental, and vocal music, as well as
choral and symphonic music.
Kinoshita’s opera Alice in Wonderland (2003), which is based on her piano piece
of the same name, was commissioned by the Mitsubishi Trust Art and Cultural
Foundation in commemoration of the twentieth anniversary of the Mozart Theatre in
Tokyo and is still regularly performed. Its premiere was awarded the Mitsubishi shintaku
geijyutsu bunka zaidan syorei prize. Two years later, the revised Alice in Wonderland
(2005) won the Exxon-Mobile Music Prize.15 Kinoshita also started to compose works
for larger ensembles, such as orchestral works, works for brass band, works for choir and
orchestra (see a list of Kinoshita’s works in Appendix A). They have been performed in
some of the most important halls of Japan, including the Takemitsu Memorial Concert
Hall, Oji Hall, Tokyo Bunka Kaikan, Tokyo Metropolitan Art Space, and Shinjuku
Bunka Center. Kinoshita’s works, such as the song album Four Songs by C. Rossetti
(2000), and the choral piece For Soccer (2003), are regularly performed in concerts all
14
NHK (Nippon Hoso Kyokai) [Japan Broadcasting Corporation] is the biggest TV and radio station in
Japan. It is a national public broadcasting organization. It also provides an international broadcasting
called NHK World.
15
The vocal score and full score for the opera Alice in Wonderland are available in Edition OngakunoTomo-Sha. While the piano work led to the composition of the opera, Kinoshita largely recomposed the
music. The opera only uses fragments of motives from the piano work.
14
over Japan. It is because of these works for various ensembles and instrumentations that
Kinoshita believes she became a well-rounded composer.16
Recordings
As of February 2011, there are thirty-seven CDs and two DVDs containing
Kinoshita’s music. Fifteen recordings include songs. Of these, Jyojyo shohin kyoku shu
[Lyric Pieces] (1999), Aisuru uta [Love Songs] (1995), and Muttsu no roman [6
Romantic Pieces] (1995) have been recorded the most.17 Thirteen recordings feature choir
music and five feature brass bands. There are only a few recordings for wind orchestra,
piano, and chamber ensemble. All the recordings have Japanese labels: Fontec, Victor
Entertainment, Octavia Records, Sony Music Entertainment, and Nami Records. For this
reason, Kinoshita’s music is rarely available in the United States.
General Style Characteristics
Many of Kinoshita’s works have programmatic titles (see Appendix A). Within
her entire oeuvre, Kinoshita’s compositions often contrast two broad styles: lyrical and
atmospheric verses rhythmic and bold. The first style can include lyrical, melodic
materials and colorful, unconventional harmonies. The second style usually features the
percussive use of instruments and irregular rhythms.
16
Makiko Kinoshita, liner note to Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD.
2007.
17
Jyojyo shohin kyoku shu and Aisuru uta were originally choir works. Because of the lyrical, simple
melodies, charming lyrics, and technical accessibility, they are popular among choir groups and singers in
Japan.
15
Most of Kinoshita’s choral music and vocal songs are very lyrical. Her melodies,
particularly in her songs, frequently follow the natural intonations of the Japanese
language. Her piano accompaniments usually support and lead the melody line and also
share many characteristics with Kinoshita’s solo piano music.18
In her chamber music, Kinoshita often contrasts her two broad styles within a set.
For example, Twisting Landscapes for clarinet, violin, and piano (2004) has three
movements that follow an overall rhythmic – atmospheric – rhythmic structure.
Sometimes, however, Kinoshita chooses to focus on a specific technique. In Trembling
Moon for four percussion players (2005), repeated tremolos are used to create
atmospheric effects.
Piano Music
…The piano is capable of so many colors and dynamics that it is almost
magical. The piano has become my favorite instrument and I plan on writing
more pieces for it in the future. I believe that I can write fresh and individualistic
music using orthodox styles without using the aggressive and overly percussive
techniques favored by composers of the last century. My goal is to create
appealing works that the performer enjoys playing and continues performing for
a lifetime.19
While the amount of Kinoshita’s piano music is limited, her existing works
exhibit an array of sounds and present diverse technical challenges. Her piano pieces
range from simple pedagogical pieces to difficult concert masterpieces that require
detailed musicality and technical finesse. While most scores have been published with
18
Kinoshita uses chords as color changes on each beat in the piano part of “For the Moon Light” in Kohu
na Tsuki (2008), which is similar to Prelude 6 of 9 Preludes (2001). The piano part of Romantic Pig (1989)
shares many characteristics with Kinoshita’s piano music for children: grace notes, waltz-style
accompaniment, and playful and charming characters.
19
Makiko Kinoshita, interview answers to author, February 1, 2011.
16
both Japanese and English titles, two unique scores, obtained directly from Kinoshita,
have only Japanese titles: Waku Waku [Exciting] and Uto Uto [Dozing].20 A Circuit of
Dreams (1986, revised 2007), 9 Preludes (2001), Alice in Wonderland (1993), and
Mother Goose (1991) were published as separate collections. Kinoshita’s solo piano
repertoire is listed by title, in both Japanese and English, in Table 2.1.
Kinoshita’s first piano piece, Fantasy (1979), is unpublished. Kinoshita composed
it when she was in college and I have received a copy of the original manuscript from the
composer. Since Kinoshita would like to revise this work, she has asked me not to record
it.21 The work appears very difficult because of the use of irregular rhythms, fast
arpeggiated passages in a wide range, and irregular time signatures.
Kinoshita’s piano pieces for children are well respected in pedagogical circles.
This is evidenced by her publications of individual children’s pieces in The Collection of
Piano Pieces by Composers for Children.22 This series has been published every year
since 1985 and it has become very popular among Japanese piano teachers because of its
accessibility to Japanese contemporary music. Many prominent Japanese composers have
been published in The Collection of Piano Pieces by Composers for Children including
Yoshinao Nakada, Akira Nishimura (b. 1953), Hiroshi Aoshima (b. 1955) and Shinichiro
Ikebe (b. 1943). The Japan Federation of Composers also sponsors a premier concert
20
I will use English titles in this document unless the work was solely titled in Japanese.
Makiko Kinoshita, email message to author, September 10, 2009.
22
One piece from The Collection of Piano Pieces by 36 Composers for Children: Kodomo no Jyokei 1
[Scene of Children-1] (2000) was chosen as a required repertoire in the 2001 PTNA Piano Competitions at
level B. The competition is a well-known national piano competition in Japan. Level B is for children in
fourth grade and under. A complete listing of the pieces composed by Kinoshita for The Collection of
Piano Pieces by Composer for Children can be found in the bibliography.
21
17
every year wherein composers who published music in the series perform their own
pieces.23
Table 2.1: Kinoshita’s Solo Piano Music
Year
Published
2007
(revised)
2007
2006
2004
(republished)
2003
2001
2000
1997
(republished)
1995
1994
1993
Titles (Japanese, English)
夢の回路 (Yume no Kairo)
A Circuit of Dreams, I, II
クアッガ
E q. quagga
モア
Moa
GI カットのライオン (GI katto no Lion)
The Lion with the GI haircut
うとうと
Uto Uto [Dozing]
９つのプレリュード
9 Preludes
わくわく
Waku Waku [Exciting]
ピョコピョコ(Pyoko Pyoko)
Hop, hop
思い出のレモンパイ(Omoide no Lemon Pai)
A Memorable Lemon Pie
ふんわりババロア
Soft Bavarian Cream
不思議の国のアリス
Alice in Wonderland
1.
2.
3.
4.
5.
6.
7.
23
Publisher
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
Ongaku-noTomo-Sha
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
木かげのアリス[Alice in the Golden Afternoon]
白うさぎを追って[Down the Rabbit-Hole]
涙の水たまり[Pool of Tears]
ドードー鳥とおかしなレース[The Dodo and a Strange
Race]
イモムシの忠告 [Advice from a Caterpillar]
笑う猫 [Cheshire Cat]
お茶会は続く [A Mad Tea-Party Never Ends]
日本作曲家協議会[JFC] is a Japanese organization for composers. Their official site can be accessed at:
http://www.jfc.gr.jp/index.html
18
8.
9.
女王とクロケット大会 [The Queen’s Croquet-Ground]
裁判は大さわぎ [The Trial in a Muddle]
10. 夢のあと[After the Dream]
1991
1990
1991
アフリカの子どものうた (Africa no Kodomo no Uta)
Children’s Song of Africa
犬が自分のしっぽをみて歌う歌 (Inu ga jibunnno shippowp
mite utau Uta)
Song Sung by a Dog Looking at its own Tail
マザーグース
Mother Goose
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
Edition KAWAI
Edition KAWAI
Edition KAWAI
Three Blind Mice
Mrs. Bond
Old King Cole
The Cuckoo
Pussy Cat
On Christmas Day
Jack and Jill
Goosey, Goosey Gander
Rock-a-bye, Baby
Humpty Dumpty
Saint Paul’s Steeple
Hey Diddle Diddle
Who killed Cock Robin?
London Bridge
15. Twinkle, Twinkle Little Star
1989
1988
1986
1979
GI カットのライオン (GI katto no Lion)
The Lion with the GI haircut
ピョコピョコ(Pyoko Pyoko)
Hop, hop
ピアノ組曲“夢の回路”
Piano Suite “Circuit of Dreams”, I, II, III
幻想曲
Fantasy
Edition KAWAI
Edition KAWAI
The Japan
Federation of
Composers
Unpublished
Apart from her solo piano works, Kinoshita has also published two collections of
piano duets. One is Labyrinthine Piano (2010), which includes six advanced duet pieces.
This set is based on Kinoshita’s earlier choral works, including Tio’s Night Trip (1986),
Amusing Cinecamera (1991), and Yoruwa keshite jittowa (1989). The second set is
19
Gentle Rain (2003), which includes ten duets for more pedagogical purposes. Two of the
duets from Gentle Rain were published in The Collection of Piano Pieces by Composers
for Children in 2002 (Messages 2 and 4). This set is meant to be played by a student
(Piano 1) and the student’s teacher or parent (Piano 2). By playing these works, students
can enjoy learning music in an ensemble setting and experience more advanced musical
concepts: rich harmonies, interesting dialogues, and parallel and contrary motion. While
the student’s part (Piano 1) is much easier, musical elements in both parts are similar.
Conclusion
Though Kinoshita never took a complete break from piano writing, her output
was not consistent. In fact, Kinoshita composed less than five minutes of piano music
between the years of 1993 and 2001, subjecting herself to a sort of self-imposed “hiatus”
from the piano.24 Kinoshita realized that when she wrote music, she automatically
imagined a piano producing that sound, even if the piano was not her intended
instrument. She began pursing orchestral and choral composition more seriously in order
to expand the timbres that she could hear while writing. She did not want to default to
hearing only piano sounds. Thus her early experiments with piano writing led to several
choral compositions rather than a deeper exploration of pianistic writing. When Kinoshita
resumed writing for the piano, she noticed that her melodic lines and phrase shapes were
much like those of a singer.25 The following chapter will examine each work for solo
piano in more detail, including their performance and pedagogical issues.
24
25
Makiko Kinoshita, preface to the score 9 Preludes (Tokyo: Ongakuno-Tomo-Sha, 2001).
Kinoshita, interview answer to author, February 1, 2011.
CHAPTER 3
PEDAGOGICAL AND PERFORMANCE CONSIDERATIONS
Introduction
This chapter examines Kinoshita’s solo piano works. The pieces are discussed in
the order in which they appear on my CDs. The first CD incorporates Kinoshita’s
advanced and more challenging music, 9 Preludes and A Circuit of Dreams; the second
CD covers her music for children, Alice in Wonderland, Ten Pieces for Children, and
Mother Goose. The Ten Pieces for Children are treated chronologically, according to
their dates of publication.
The following discussions of each of Kinoshita’s solo piano works encompass
technical challenges, interpretive issues, and pedagogical thoughts. I have also rated the
difficulty of each piece. In order to ground the reader and enhance the performer’s
appreciation of the music, I begin each discussion with a consideration of the work’s
individual character and its distinctive stylistic elements. I chose to initiate this project
with 9 Preludes because my recording is the piece’s premiere recording. A Circuit of
Dreams, Kinoshita’s most complex solo piano work, follows 9 Preludes. Those two sets
are written for advanced pianists. Therefore, I have included more depth of discussion in
the stylistic overview, as well as in the performance suggestions. Next follows Alice in
Wonderland, wherein I introduce the music’s literary background and explain how it
should enhance a performer’s interpretations rather than focusing on stylistic analysis.
21
While Alice in Wonderland includes some technically challenging pieces, it is overall far
less idiomatically complex than the first two set. My discussion concludes with Ten
Pieces for Children and Mother Goose, two sets of simple, short pieces characterized by a
more traditional tonal language. Although these short pieces are deliberately less
sophisticated than the others, they are valuable as pedagogical works. My discussion of
these works stresses their pedagogical angle, rather than their structural characteristics.
9 Preludes
9 Preludes was completed in 2000 and published in 2001, but it was completed
over a period of sixteen years. During 1984-85 Kinoshita was teaching piano lessons to a
particular high school student who dreamt of entering college as a composition major, she
composed a new piece for him for every lesson. 9 Preludes grew out of several musical
ideas from these lessons.1
The generic title of 9 Preludes is exceptional among Kinoshita’s compositions.
Nearly all of her published works have programmatic titles (see for example Alice in
Wonderland or Circuit of Dreams).2 For 9 Preludes Kinoshita simply thought the set
should be entitled “preludes” and that each prelude should be identified by a number. At
first Kinoshita was planning to compose twelve preludes, following the tradition of Bach
and Chopin, who wrote twelve preludes in twelve different keys. Yet Kinoshita
1
Makiko Kinoshita, email message to author, March 15, 2011. Kinoshita remembers that she composed
five or six preludes in 1984-85. Later she revised some of these original preludes and even threw some of
them away; only Prelude 1 was kept the same as the original. A few preludes were newly composed for the
publication.
2
Kinoshita revealed that she usually decides a title of the piece after finishing a composition in the email
message to author, February 1, 2011.
22
composed without key signatures, and after completing the ninth prelude she felt that the
collection was organic and complete.3
According to the preface of 9 Preludes, Kinoshita intended to create new music
that sounded modern, beautiful, universal and individualistic, but that also remained
accessible for both the audience and the performing artist. In other words, she was not
interested in composing virtuosic music, but in creating unique sounds and rhythms.4
Each prelude has a unique character but there are some common features that draw the
pieces together. The form of each prelude is usually ternary and the first A section is
usually stated twice (AABA’). Double bar lines indicate these sections, except in Prelude
6. Here the sections are divided by changes in tempo, indicated by specific metronome
markings. The B, or middle, section is often motivically related to the A section, although
the moods of the two sections are sometimes contrasting. The length and placement of
downbeats change frequently, giving the music an improvisatory quality. Kinoshita also
uses parallel fifths, albeit in various ways, to unify the set. The following paragraphs will
discuss each prelude in more detail.
Prelude 1 [CD 1-1]
Stylistic Overview
This prelude is strongly influenced by popular music and jazz: the counterpoint
between the hands, driving syncopated rhythms, and extended harmonies seem to be
3
Because the set was conceived in the tradition of twelve preludes, the set remains independent from other
composers who wrote collections of nine preludes, including Szymanowski (Op. 1), Fauré (Op. 103), and
Ruth Crawford (1928). Makiko Kinoshita, interview answer to author, February 1, 2011.
4
Makiko Kinoshita, 9 Preludes (Tokyo: Ongakuno-Tomo-Sha, 2001).
23
drawn from those genres. For example, rhythmic syncopations and asymmetrical meters
are similar to those in David Brubeck’s Blue Rondo A La Turk (1959), which has playful
undulations between triple and duple groupings of a constant eighth-note pause. The
meter of this prelude changes often, creating combinations of two-, three-, and four-bar
phrases. Changing meters reflect progressive pop music as well. An improvisatory nature
is also suggested by the liberties Kinoshita gives the performer; for example, there are no
pedal indications or detailed articulation markings.
The form is AABA’, with the central section freely expounding upon ideas from
the first. The three main sections are demarcated by double bars. The texture is a
traditional blend of three- and four-voice lines, usually implying extended tertian
harmonies. The music implies B minor in mm. 1-3 with a two-sharp pitch collection
(Example 3.1). It becomes a one-sharp pitch collection in mm. 4-5 and moves to no
accidentals in mm. 6-7. Similar changes continue, but a prolongation on the pitch B ends
each A section and implies B minor (Example 3.2).5 Despite these shifts in pitch center,
the harmonic progression is smooth. This type of modal inflection, moving from one
nearly-related pitch collection to another, is a hallmark of this prelude.
The left hand uses open fifth chords in many places.6 These are often held for an
extended duration and move down by a third, relating to each other in perhaps an
untraditional way (Example 3.3). Through these shifting fifth chords, we see Kinoshita
using chord changes as color changes, much like impressionist composers.
5
The sections prolonging the pitch B are mm. 14-22, 40-49, and 112-129.
Open fifth chords and thirds can be seen in many of Kinoshita’s piano works. She likes to use them
because those intervals are easy to reach when placing hands on the keyboard, and easy to control the
sound. They can be expressive and effective when repeated percussively. Kinoshita, interview answer to
author, February 1, 2011.
6
24
Both the
t A and B sections also include lonng passages of static pitcch collectionns
with
w shifting rhythmic gro
oups (Examp
ple 3.4a andd Example 3..4b). This hiints at Straviinsky
an
nd Bartók.
Example
E
3.1: Makiko Kiinoshita, 9 Preludes,
P
Preelude 1, mm.. 1-10
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.2: Makiko Kiinoshita, 9 Preludes,
P
Preelude 1, mm.. 112-129
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
25
Example
E
3.3: Makiko Kiinoshita, 9 Preludes,
P
Preelude 1, mm.. 51-61
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.4aa: Makiko Kinoshita,
K
9 Preludes,
P
Preelude 1, mm
m. 62-71
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.4b
b: Makiko Kinoshita,
K
9 Preludes,
P
Preelude 1, mm
m. 124-129
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
26
At the end of the prelude Kinoshita introduces a creative transition to link the first
prelude to the second. Prelude 1 ends on an open fifth on B, and Prelude 2 starts by filling
in the missing D; however, the resolution of the complete B minor triad is undermined in
m. 1 (See Example 3.5 under Prelude 2) when the left hand enters in C major.
Suggestions for Performance
Since there are not many performance indications on the score, but the prelude
has an improvisatory quality, it is important for the performer to think about the sense of
timing between phrases. Imagine taking a slight breath between phrases, in which the arm
would be slightly lifted up. For example, the sense of lifting would happen between mm.
3 and 4, beats 2 and 3 in mm. 8 and 11, and beats 3 and 4 in m. 14. In the A section, make
sure the eighth notes in the left hand drive in 5/8 time with a subtle emphasis on the
downbeat. It is easy to have an incorrect accent on the fourth beat when the eighth-note
becomes a quarter-note (mm. 4-6 and mm. 17-22). When the melody is played in chords,
the arm should help move the hand horizontally but not vertically so that the melody
sounds smooth (mm. 4-8 and mm. 17-23). In the B section, when the right hand has
melodies built in thirds (Example 3.2), the performer needs to make the melody flow
smoothly. Playing eighth notes between the thirds quieter will help. Finally, whenever the
left hand has a long open fifth chord, the right hand should wait to come in until the
dynamic of the chord decays (mm. 27 and 99). The performer might need to hold the
chord a bit longer than it is notated. This will allow the entrance of the recurring theme
to be more effective.
Level of Difficulty: Late intermediate
27
Prelude
P
2 [C
CD 1-2]
Stylistic
S
Overrview
Prelud
de 2 creates a lyrical, gen
ntle, dreamyy atmospheree by using a multi-layereed
teexture. The 4/4
4 meter is retained
r
thro
oughout andd there is a reecurring accoompanimenttal
rh
hythm in thee left hand. This
T steady metric
m
orienttation createss a meditativve atmospheere.
Kinoshita
K
putts specific peedal marking
gs in this preelude, as oppposed to the first preludee,
where
w
she leaaves the pedaaling to the performer.
p
Like Prelude
P
1, th
his prelude has jazz influuences. Kinooshita uses jaazz chords, ssuch
ass elevenths, that move by fifth (Exam
mple 3.5). E
Extended terttian harmoniies also draw
w
heavily from a whole-ton
ne pitch colleection. For e xample, a C
CMm9#11 chorrd in m. 1
becomes the whole
w
tone scale
s
(Bb-C-D
D-E-F#) wheen you remoove the G.
Example
E
3.5: Makiko Kin
noshita, 9 Prreludes, Prellude 2, mm. 1-4
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
n double thirrds, which becomes accoompanimenttal to
The A section hass a melody in
th
he left hand melody
m
in th
he B section (m. 25; Exaample 3.6). IIn mm. 21-244, it is as if tthe
th
hirds becomee separated from
f
each otther and losee their sense of melodic direction. W
When
28
th
hey find theiir way again,, they are gu
uided by the left hand meelody. In m. 29 the meloody
reeturns to the right hand in
i double thiirds with a bell-like highh note on thee second beatt.
w
the drreamy atmossphere of thiis prelude is the result off a carefully
As a whole,
sp
paced and laayered texturre in which Kinoshita
K
inttelligently exxploits the toonal palette of
th
he instrumen
nt. The final CMm9#11 13 chord in thee last two meeasures slow
wly disappearrs
liike smoke. Similar
S
to thee opening CM
Mm9#11 chorrd, all the pittches exceptt G and A fitt into
a whole-tone scale. Thesee opening an
nd closing chhords exempplify Kinoshiita’s use of
harmony as a colorful efffect.
Example
E
3.6: Makiko Kin
noshita, 9 Prreludes, Prellude 2, mm. 21-30
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
29
Suggestions for Performance
Melodies in thirds will sound better if the soprano line sounds slightly more than
the lower line. When playing a large rolled chord such as in m. 11, bring the chord out of
the preceding four eighth notes, as if all the notes are just one chord. In other words, play
everything as a single gesture. To make the rolled chord sound smoothly, the right hand
can take the notes of the second beat (D and E). In mm. 29-36 the music becomes excited
and wants to move forward; however, grow gradually so that the musical momentum
builds to a climax in m. 37.
Level of Difficulty: Medium difficult
Prelude 3 [CD 1-3]
Stylistic Overview
Prelude 3 features two different ideas: a busy, running figuration (m. 1) that
contrasts with declamatory chords (m. 2). This creates a dichotomy between horizontal
and vertical motion (Example 3.7). In fact, the music begins to sound like an argument
between two characters; the first person wants to go forward but keeps getting interrupted
by the second, defiant one.
The chords of the second idea are closely spaced, moving in chromatically related
major triads. For example, in m. 2 there are Db, Cb(B), and Bb major chords. These have
short, dry articulations, which resemble the opening to Debussy’s etude Pour les accords
(Example 3.8).
30
Example
E
3.7: Makiko Kiinoshita, 9 Preludes,
P
Preelude 3, mm.. 1-12
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.8: Debussy, Etude,
E
pour les
l accords, mm. 1-4
31
In the second A seection, startiing at m. 9, tthe busy, runnning figure is written inn
un
nison for both hands and
d the rhythm
ms of chordall statements vary (Exam
mple 3.7). Theese
faast parallel sixteenth-notte figurations an octave aapart have thheir roots in the writing of
co
omposers su
uch as Shostaakovich and Prokofiev (E
Examples 3..9 and 3.10). These unison
passages com
mbine step-w
wise chromatiic motion wiith quartal annd triadic m
melodic contoours
to
o create ratheer eclectic pitch collectio
ons.
Example
E
3.9: Prokofiev, Piano Conccerto no. 3 inn C major, O
Op.26, I, mm
m. 23-24
Example
E
3.10
0: Shostakov
vich, Piano Concerto
C
Noo. 1, Op. 35, I, mm. 22-223
The B section, beg
ginning at m.
m 19, reversees the roles oof the handss by placing
ru
unning sixteeenth-note paassages in the right handd and chords in the left hand (Exampple
3.11). In mm..19-23, thesee chords are controlled bby linear basss motion (A
A-Ab-G-Gb-F
F-ED).
D Kinoshitaa seems to faavor this tech
hnique; it can
an be seen inn her other coompositions,,
su
uch as Prelude 2 (mm. 29-33) of thiss collection aand Hop, hop
op. Rests on tthe downbeaat
32
leend a breathlless and perh
haps anxiouss quality to tthe music. A
Again, one caan clearly heear a
jaazz influencee in these syn
ncopations.
Example
E
3.11
1: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 3, mm
m. 19-26
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Suggestions
S
for
f Performa
ance
The tw
wo contrastin
ng characterrs in the A seection shouldd be clearly heard from the
beginning. Th
he right hand
d needs to usse vertical m
motion to souund as if it iss interruptingg the
leeft hand sixteeenth-note passages
p
thatt are trying tto move forw
ward. In the ffirst and second
sttatements (m
mm. 2 and 4)) the right haand needs to be played inn time with a steady beatt. It
co
ould come in
n slightly earrlier in the th
hird statemeent (m. 6) because afterw
ward the mussic
33
moves
m
forwarrd; the sixteeenth-notes become free ffrom the inteerruptions. W
When there iis a
reest between sixteenth-no
ote passages (such as mm
m. 7-8 and m
mm. 36-38), tthe rest shouuld
be taken for a precise durration or perh
haps slightlyy shorter than
an the writtenn duration too be
brreathless. Peerformers should approach sixteenthh-note passagges carefullyy, as fast paraallel
fiiguration is especially
e
no
otorious for the
t fingeringg problems iit presents.
Level
L
of Diffficulty: Diffiicult
Prelude
P
4 [C
CD 1-4]
Stylistic
S
Overrview
Prelud
de 4 emulatees a sicilianaa, featuring ddotted rhythm
mic motives (Example 3.12).
The
T music is metrically ambiguous.
a
While
W
the pieece starts in 9/8 time, thee music ofteen
so
ounds as if itt were in 6/8
8 because off phrase figurrations. Lateer, beginningg with the leaad
in
nto the B secction, the nottated meter is
i changed too 6/8.
Example
E
3.12
2: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 4, mm
m. 1-3
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
34
Like Prelude 3, this piece also has two contrasting characters. The A section is
coloristic, simple and lyrical, while the B section is more rhythmic and syncopated. The
B section is also reminiscent of neo-classicism. Beginning at m. 17 there is a “sentence”
structure: basic idea + basic idea + continuation + cadence (Example 3.13a).7 In fact, this
is a “compound theme”: two sentence structures (6 + 6) within the “period” structure.
The first six measures (mm. 17-22) have a cadence that goes to G and the second six
measures (mm. 23-28) end on D. This kind of technique was used by classical
composers, such as Beethoven, Mozart, and Haydn (Example 3.13b). Kinoshita also used
the same structure in the A section of Memorable Lemon Pie.
This piece also resembles Ravel’s “Forlane” from Tombeau de Couperin,
particularly with its use of dotted rhythms and parallel motion chords. The simple yet
sophisticated harmony, created by gliding parallel fifths, also sounds like Ravel (Example
3.14).
Suggestions for Performance
The B section should be played with a sense of forward direction because of its
repeating rhythmic motives. While Kinoshita indicates a tempo marking of a dotted
quarter note as 42, the piece could be played in a faster tempo to help it flow more
organically.
Level of Difficulty: Late intermediate
7
Terminology and ideas came from William E. Caplin, Classical Form: A Theory of Formal Functions for
the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press 1998). The
“period” structure consists of “antecedent (basic idea + contrasting idea)” and “consequent (basic idea +
contrasting idea).” Antecedent is followed by half cadence, and consequent is followed by a perfect
cadence. In examples 3.13a and 3.13b antecedent and consequent sections have sentence structure by
themselves.
35
Example
E
3.13
3a: Makiko Kinoshita, 9 Preludes, P
Prelude 4, m
mm. 16-28
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.13
3b: Beethoveen, Sonata, Op.10
O
no.1, III, mm. 1-166
36
Example
E
3.14
4: Ravel, Fo
orlane, Tomb
beau de Coupperin, mm. 11-4
Prelude
P
5 [C
CD 1-5]
Stylistic
S
Overrview
With its
i syncopatiions and hem
miola rhythm
ms, Prelude 5 is rhythmiccally intensee.
The
T texture iss thicker here than in thee other prelu des. The A aand B sectioons share a
co
ommon rhytthmic motivee (Exampless 3.15a and 33.15b). This off-the-beatt accentuatioon
on
ne sixteenth-note early, is very charaacteristic of pop music.
Example
E
3.15
5a: Makiko Kinoshita, 9 Preludes, P
Prelude 5, m
mm. 1-6
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
37
Example
E
3.15
5b: Makiko Kinoshita, 9 Preludes, P
Prelude 5, m
mm. 35-37
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
In m. 1 the quartaal/quintal harrmony featurres the open fifth intervaal; beginningg in
m.
m 2 melodic perfect fourrths are foun
nd in unison runs (Exampple 3.15a). K
Kinoshita’s uuse
of gliding fiftths appears again
a
in this movement, but here shee treats the chords like thhe
8
“p
power chord
ds” in rock music.
m
An op
pen fifth is eencompassedd within the octave and iis
used to accen
nt the tonal motion
m
ratherr than to obsscure tonalityy.
This prelude
p
is alsso influenced
d by jazz andd recalls piaanists such ass Bud Powelll:
his Tempus Fugit
F
uses lon
ng sixteenth-note passagges that startt on the offbeeat. In fact, tthis
prrelude sound
ds much likee a piano solo break. It juust needs a ddrum set andd bass to
co
omplete it! These
T
drivin
ng sixteenth-n
note rhythm
ms, along withh syncopatioons, rests on the
down beat, an
nd frequent meter
m
changes make the music rhythhmically inteeresting and
ch
hallenging for
fo the perforrmer. These techniques aalso lend thee music a breeathless and
in
ntense qualitty.
At thee end of the B section, in
n mm. 54-577, the left hannd seems to chase the rigght
hand melody,, which increeases the intensity of thee passage (Exxample 3.166). This sectiion
uses a similarr compositio
onal techniqu
ue to mm. 455-48 of “Dow
wn the Rabbbit-hole” from
m
8
The
T term “pow
wer chord” is usually used in rock
r
and pop m
music. It consissts of intervalss of a fifth (root and
fifth) and is usuaally played by electric guitarss.
38
Alice
A
in Wond
derland, wheere the musiic describes A
Alice chasinng a rabbit (E
Example 3.17).
The
T rising lefft hand passaage comes in
n on the offbbeat in a kindd of stretto, iinterrupting and
frrustrating thee right hand..
Example
E
3.16
6: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 5, mm
m. 53-58
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.17
7: Makiko Kinoshita,
K
Allice in Wondderland, no.22, mm. 45-488
Suggestions
S
for
f Performa
ance
The performer mu
ust carefully consider efffective fingeerings for thiis prelude,
esspecially in mm.
m 42-52 (Example
(
3.18). Here thhe right handd has fast passsages in a thhin
39
teexture with forte
f
to fortisssimo dynam
mics. In the eexample, I prrovided finggerings that I
used to get po
ower in the higher
h
registter.
Overall
O
Leveel of Difficulty: Difficullt
Example
E
3.18
8: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 5, mm
m. 41-52
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
40
Prelude
P
6 [C
CD 1-6]
Stylistic
S
Overrview
Prelud
de 6 is very coloristic:
c
th
he entire piecce consists oof rolled choords that evokke
th
he sound of a harp. Thou
ugh the meteer is a constaant 6/4, theree is a hyperm
measure of 122/4
in
n the opening
g six bars (E
Example 3.19
9). The openning chord prrogression bbegins with ttonicdominant motion (FMM9 – CMm9) over an F peddal, but this ttraditional pprogression is
qu
uickly aband
doned in fav
vor of chrom
matic voice leeading. The rrepetitions inn the outer
voices of mm
m. 1-2 also crreate a type of
o static enerrgy, so that w
when the bass starts to m
move
in
n m. 3, it is a welcome co
ontrast.
Example
E
3.19
9: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 6, mm
m. 1-6
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Similaar to Chopin
n’s E minor Prelude,
P
choords unrelated by traditioonal harmoniic
laaws are often
n juxtaposed
d; instead, they are conneected by chrromatic voicee leading
(E
Example 3.2
20). Howeverr Kinoshita’s harmoniess are taller annd more chroomatic than
41
Chopin’s.
C
Kin
noshita seem
ms to have ch
hosen chordss simply by sound, usingg what appeaaled
to
o her ear. It is
i as if one iss floating in water, with thoughts driifting in andd out devoid of
orrder or conn
nection.
Example
E
3.20
0: Chopin, Prelude
P
Op. 28,
2 no. 4, E minor, mm. 1-4
Melod
dic fragmentts often bubb
ble up from tthe depths oof the bass reegister (Exam
mples
3.21a and 3.2
21b). This len
nds this prelude a more iimprovisatorry feeling thhan the otherr
prreludes. In fact,
f
Kinoshiita wants thee audience too listen to thee resonance created by thhe
harmonic chaanges and su
uggests the peerformer enjjoy the resonnance of eacch chord by
holding the pedal.9
Example
E
3.21
1a: Makiko Kinoshita, 9 Preludes, P
Prelude 6, m
mm. 9-12
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
9
Makiko
M
Kinosh
hita, email messsage to authorr, December 277, 2010.
42
Example
E
3.21
1b: Makiko Kinoshita, 9Preludes,
9
P
Prelude 6, mm
m. 60-61
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
The B section starrts in m. 27. Unlike the oother preludees, the ternarry form is
marked
m
by ch
hanges in tem
mpo, not dou
uble bar liness. Tempo chhanges are inndicated by
metronome
m
markings.
m
Th
he musical material
m
of th e B section iis also an ouutgrowth of tthe
fiirst section (see Examplee 3.22 underr Suggestionss for Perform
mance). Afteer a transitioon in
mm.
m 27-33, fragments
fr
fro
om the A secction connecct into longerr phrases.
Suggestions
S
for
f Performa
ance
Pedaliing is the mo
ost challengiing aspect off this piece. While Kinoshita indicattes
pedaling mark
kings on eacch chord, onee might wannt to experim
ment with lonnger pedalingg.
More
M
sustaineed pedaling will help creeate longer pphrases and a better sensse of flow. Inn
mm.
m 27-33 th
he performerr needs to thiink about phhrasing and m
musical direcction, since tthere
arre many juxttaposed rolleed chords. I have indicatted my phrassing ideas inn Example 3..22.
In my
y recording I play this preelude faster than the sugggested temppo marking iin
orrder to creatte better flow
w. While Kin
noshita likedd my interpreetation, she ssuggested
playing the prrelude more slowly to en
njoy the resoonance.10
Level
L
of Diffficulty: Med
dium difficu
ult
10
Kinoshita, em
mail message to
o author, Decem
mber 27, 2010..
43
Example
E
3.22
2: Makiko Kinoshita,
K
9 Preludes,
P
Preelude 6, mm
m. 25-33
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Prelude
P
7 [C
CD 1-7]
Stylistic
S
Overrview
This prelude
p
has a rhythmic th
heme that beegins in m. 1 in F minor.. While the fform
iss ternary with
h a coda, thee prelude sou
unds like a rrondo becausse the themee recurs manny
tiimes through
hout the piecce.
In som
me ways thiss prelude also resembles a fugue (Exxample 3.23)). A complette,
un
naccompaniied subject iss presented by
b the right hhand and theen the left haand enters w
with a
co
ounter subjeect. Two subsequent appearances of tthe subject aare transposeed to V and V
VI in
mm.
m 10 and 14
1 and a “dev
velopment” type of sectiion begins inn m. 30 (Exaample 3.24).. Yet
un
nlike a typiccal fugue, a contrapuntal
c
l texture is not maintaineed and whereeas many fuggues
fo
ocus on melo
odic develop
pment, Kinoshita focusess on rhythm
mic developm
ment (or
deconstructio
on) of her fug
gal subject.
44
The B section is highly
h
percusssive and, likke Prelude 33, contains tw
wo
arrgumentative characters that are set apart by dynnamics and ttexture (Exam
mple 3.25). In
th
he reprised A section, thee subject (orr theme) movves up a whoole step up tto B-flat. In ffact,
th
he theme keeeps climbing
g, creating a linear ascennt from Bb-C
C#-D#-E-F#-G
G-A-Bb-C-C# in
mm.106-114.
m
. A resolution to F minorr finally occuurs at m. 121.
Example
E
3.23
3: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 7, mm
m. 1-15
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
45
Example
E
3.24
4: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 6, mm
m. 30-41
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.25
5: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 7, mm
m. 68-77
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
46
Suggestions
S
for
f Performa
ance
The giusto
g
tempo should be carefully maiintained in oorder to creatte a driving ssense
of rhythm. Th
he last two open
o
fifth cho
ords in the leeft hand in m
m. 10 shouldd connect to the
fo
ollowing passsage to keep
p the phrase moving forw
ward (Exam
mple 3.26). Thhere should not
be any breakss between motives;
m
for example,
e
m. 11 should foollow right aafter m. 10.
While
W
each siixteenth-notee passage haas a slur marrking, it shouuld be playedd with a preccise,
detache
d
touch
h instead of a legato onee.
Level
L
of Diffficulty: Diffiicult
Example
E
3.26
6: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 7, mm
m. 10-15
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Prelude
P
8 [C
CD 1-8]
Stylistic
S
Overrview
Prelud
de 8 uses trillls in the righ
ht hand and an expansivve texture in the left handd to
crreate a dream
my and otherrworldly atm
mosphere (Exxample 3.277a). Both thee A (m. 2) annd B
seections (m. 26)
2 have a riising, sixteen
nth-note choordal gesture in the left hhand (Exampple
47
3.27b). The use
u of extensive trills can
n be seen in K
Kinoshita’s other compoositions suchh as
“A
Advice from
m a Caterpillaar” from Alicce in Wondeerland (19933) and the second movem
ment
(p
piano part) of
o Twisting Landscapes
L
for
f clarinet, violin, and ppiano (2004)). In “Advicee
frrom a Caterp
pillar” Kinosshita depicts the scene w
where Alice m
meets a caterrpillar that iss
laazily smokin
ng a long hoo
okah (Examp
ple 3.28). Heere the trills sound like w
wisps of smooke
grradually floaating up and
d down in thee air.
Example
E
3.27
7a: Makiko Kinoshita, 9 Preludes, P
Prelude 8, m
mm. 1-4
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.27
7b: Makiko Kinoshita, 9 Preludes, P
Prelude 8, m
mm. 26-30
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
48
Example
E
3.28
8: Makiko Kinoshita,
K
Allice in Wondderland, no. 5, mm. 1-4
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
In add
dition to exteended trills, the first A seection featurres a long treemolo sectioon for
both hands (E
Example 3.29
9). These treemolos draw
w from the occtatonic pitchh collection (F#,
G#, A, B, C, D,
D Eb, F). Th
his tremolo effect
e
is a siggnature of K
Kinoshita’s sttyle and appears
in
n several oth
her composittions, such ass “Advice frrom a Caterppillar” and thhe first
movement
m
off A Circuit off Dreams (E
Examples 3.330a and 3.30b). Complexx, syncopated
rh
hythms in bo
oth hands alsso make the pulse uncleaar and help ccreate an impprovisatory and
drreamy atmosphere.
In con
ntrast to the A section, th
he B section starts with a five-measuure span thatt
ch
hanges meteer three times: from 5/4, to 4/4, and tthen to 3/4 (E
Example 3.227b). No
particular mo
otives are hig
ghlighted. A metrical shiift occurs aggain in m. 35; however hhere
th
he texture bu
uilds with thee melody do
oubled in octtaves (Exam
mple 3.31). Thhere is root
movement
m
by
y thirds in this section an
nd a retransittion at m. 611 brings backk the extendeed
trrills for the reprised
r
A seection (m. 67
7).
49
Example
E
3.29
9: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 8, mm
m. 16-23
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.30
0a: Makiko Kinoshita, Alice
A
in Wonnderland, no. 5 mm. 69-773
50
Example
E
3.30
0b: Makiko Kinoshita, A Circuit of D
Dreams, I, m
mm. 82-89
Example
E
3.31
1: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 8, mm
m. 49-55
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
51
Suggestions for Performance
It is difficult to keep an even sound when playing extended trills at a pianissimo
(pp) dynamic. I suggest using measured trills first (the performer may decide how many
trills to play in a beat), and free trills later to shape phrases. In playing long tremolos,
make sure to transition between groups smoothly. These changes should create a long
line and should not be disjunct: play slightly more into the key at the end of the preceding
tremolo and the beginning of the following tremolo.
Tempo changes due to ritardando, a tempo, and accelerando markings can help
the music sound improvisatory. A good sense of flow and phrase shaping is essential to
play this piece musically.
Level of Difficulty: Difficult
Prelude 9 [CD 1-9]
Stylistic Overview
The form of Prelude 9 is an arch form, A B1 B2 A + codetta, which is a little more
complex than the preceding preludes. Measures 1-27 present the first theme (A) which
contains a dialogue between two ideas: vertical repetitive motion and a horizontal
melody. Measures 28-48 introduce the second theme (B1), which reverses the ideas of the
first theme. Here the horizontal melody comes first and is followed by repetitive motion
with a fixed bass prolonging the pitch B. The first two measures of the second theme
(mm. 28-29) include a whole tone scale plus E (F, G, A, B, C# + E). At m. 47 there is a
new theme (B2) that begins a developmental area. At m. 85 the first theme returns in the
recapitulation. A codetta with new closing material closes the prelude.
52
As no
oted previoussly, the A an
nd B1 themess of this prellude use insistent, repetittive
ch
hords. Thesee chords are motoric, com
mprised of ssixteenth nottes, and usuaally form
su
uccessive grroups of fourr or six. In mm.
m 20-27, thhe downbeatts are rhythm
mically displlaced
by
y these chan
nging groupss (Example 3.32).
3
Example
E
3.32
2: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 9, mm
m. 20-27
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
de 9 also shaares a compo
ositional techhnique with the second m
movement oof A
Prelud
Circuit
C
of Dreeams whereiin repeated-n
note passagees become thhicker by thee addition off
notes (Examp
ples 3.33a an
nd 3.33b). Th
his techniquue, along withh the uniquee tremolo efffect
in
n Prelude 8, can be consiidered a trad
demark of Kiinoshita’s coompositional style.
53
Example
E
3.33
3a: Makiko Kinoshita, 9 Preludes, P
Prelude 9, m
mm. 78-84
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.33
3b: Makiko Kinoshita, A Circuit of D
Dreams, II, mm. 119-2004
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
54
Suggestions
S
for
f Performa
ance
There are almost no
n performaance indicatioons in the sccore. Pedal m
markings, phhrase
markings,
m
and
d articulation
ns are scarcee, leaving muuch of the m
musical interppretation up to
th
he performerr. The unusu
ual time signatures of 10//16, 9/16, annd 7/8 alternnating each
measure
m
(whiich appears in
i mm. 36-40) is also triccky to play ((Example 3.34).
The
T rhythmicc and techniccal demands of this preluude also requuire the perfformer to leaarn
how to balancce between the
t arm and wrist. Correect balance w
will allow thhe figurationn to
ound solid an
nd controlled and help th
he performeer avoid fatiggue.
so
Example
E
3.34
4: Makiko Kinoshita,
K
9 Preludes,
P
Prrelude 9, mm
m. 35-37
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Level
L
of Diffficulty: Diffiicult
Summary
By ex
xamining eacch prelude in
n detail, one can see thatt Kinoshita inncorporates a
wide
w variety of
o compositiional techniq
ques into thee entire set. Y
Yet the workk remains a
co
ohesive who
ole. More sp
pecifically, th
hough each pprelude makkes a distinctt use of meloody,
co
olor, syncop
pated rhythm
m, or some co
ombination oof these three elements, 9 Preludes hhas
an
n overarchin
ng pattern. Prrelude 1 fun
nctions as an introductionn and then P
Preludes 2
th
hrough 9 alteernate back and
a forth: slo
ower, lyricall, coloristic ppreludes alteernate with
55
faster, rhythmic preludes. Therefore, while the preludes can function alone or within
smaller groupings that share characteristics, 9 Preludes works well as a complete set.
Table 3.1 indicates the different genres and styles Kinoshita uses for 9 Preludes.
Her musical language is influenced by jazz and pop music (Preludes 1 and 5) as well as
classical traditions. Yet her approach to tonality is often unconventional: she creates
unique pitch collections (Preludes 1 and 8), juxtaposes unrelated chords (Prelude 6),
coloristic gliding fifths (Prelude 1), and complex metrical ambiguity (Preludes 4 and 8).
Table 3.1: Summary of 9 Preludes
Prelude
Stylistic characteristics
Techniques
1
-Pop music / Jazz influence
-Implies B minor
-AABA’ form
-The use of open fifth is
impressionistic.
-Coloristic and dreamy
-Use of Whole-tone scales
-AABA’ form
-Two contrasting characters
-Influence of Shostakovich
and Prokofiev
-AABA’ form
-Siciliana
-Coloristic/Lyrical
-Metric ambiguity
- Reminiscent of neoclassicism
-AABA’ form
-Pop music influence
-Open fifth chord as “power
chord”
-AABA’ form
-Ethereal feel
- Chromatic voice leading
-AABA’ form
-Implies F minor
-Ternary + coda, however it
-Frequent time changes
-Double thirds
2
3
4
5
6
7
-Rolled chords
-Double thirds
-Fast sixteenth-note passages
-Chords
-Dotted rhythms
-Lyrical playing
-Driving sixteenth-note rhythms
-Rests on the down beat
-Syncopations
-Frequent time changes
-Rolled chords
-Effective pedaling
-Fast sixteenth-note passages
-Chords
56
8
9
sounds like Rondo form
-Motivic
-Two contrasting character in
the B section
-Coloristic / Lyrical
-Use of Octatonic pitch
collection
-Frequent time changes
-ABA’ form
-Two contrasting characters
-Arch form (AB1B2A’ +
codetta)
-Use of whole-tone scale
-Octave playing
-Staccato
-Accent
-Polyrhythm
-Long trills
-Long tremolos
-Octave playing
-Motoric rhythms
-Repetitive chords / notes
-Double thirds
-Syncopations
-Accent
Kinoshita’s combination of techniques is not an example of mimicking other
composers, but more of a testament to her diverse musical training and imaginative
writing style. If the preludes are taken one by one, the listener only gets a small taste of
Kinoshita’s brilliance. Considering 9 Preludes as a whole allows the listener to
experience the full impact of her style.
9 Preludes, Overall Level of Difficulty: Late intermediate – Difficult
57
A Circuit of Dreams
A Circuit of Dreams was published in 1986 and revised in 2007. The suite is the
only piano repertoire Kinoshita composed during her 20s-30s: at this time she was
primarily composing for orchestra and choir.
A Circuit of Dreams originally had three movements and was published as Piano
Suite “Circuit of Dreams” by the Japan Federation of Composers (JFC). The score is
hand-written. The original second movement of the suite was extremely demanding and
many pianists could not play it well. Kinoshita heeded suggestions from concert pianists,
such as Miho Shibata, and rewrote the set between 1997 and 1998. She removed the
second movement and also changed many sections in the first and final movements.
Following the advice of her pianist friend Miho Shibata, Kinoshita later added clearer
articulation and pedal markings.11 She published the revised version of A Circuit of
Dreams in 2007.12
As the original title indicates, the set is meant to be a “suite” that includes two
independent pieces. The title “A Circuit of Dreams” was chosen after Kinoshita finished
composing. When she had finished the first movement, she connected the work to an
image from a scene from the book Heinrich von Offerdingen by Novalis (1772-1801)
wherein the main character has a sweet and visionary dream. The choice of “circuit”
came from the character of the second movement (originally the third movement), which
11
Miho Shibara has recorded two of Kinoshita’s works, A Circuit of Dreams and Twisting Landscapes in a
CD, The Trembling Moon, ALM Records/Kojima Recordings ALCD-71, CD, 2007.
12
Makiko Kinoshita, A Circuit of Dreams (Tokyo: Edition KAWAI, 2007) 2.
58
has driving rhythms and sudden stops in a dry texture. In essence, the piano is used as a
percussive instrument.13
Movement I [CD 1-10]
Stylistic Overview
Like Preludes 2, 4, 6, and 8 of the 9 Preludes, this movement uses coloristic
harmonies to create a dreamy atmosphere; however Kinoshita’s use of trills, tremolos,
arpeggios, and secco articulations more resemble her writing for the piano in the second
movement of Twisting Landscapes (2004), a chamber work for clarinet, violin, and
piano.14 For example, both movements use melodic fourths with staccato articulations in
a high register with pedal (Example 3.35a and 3.35b).
In the first movement of A Circuit of Dreams dynamics range from ppp to fff and
the movement has a texture like Chopin’s nocturnes, especially at the beginning
(Example 3.36). Broken accompanimental patterns, melismatic writing, and complex
rhythms such as three against seven, should be executed as a single, smooth gesture.
While this movement has recurring thematic and rhythmic elements, the form is
hard to define. Perhaps it is best described as a fantasy in four parts. I indicate these
sectional divisions in Table 3.2 with horizontal double bars.
13
14
Kinoshita, interview answers to author, February 1, 2011.
Makiko Kinoshita, Twisting Landscapes, (Tokyo: Ongakuno-Tomo-Sha, 2007).
59
Example
E
3.35
5a: Makiko Kinoshita, A Circuit of D
Dreams, I, m
mm. 24-26
Example
E
3.35
5b: Makiko Kinoshita, Twisting
T
Lanndscapes, II,, mm. 15-17
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.36
6: Makiko Kinoshita,
K
A Circuit of D
Dreams, I, mm
mm. 1-2
60
Table 3.2: Form of A Circuit of Dreams, I
Mm.
1
13
17
33 (Transition)
40
42
51
52
65
72
82
90 (Codetta)
Element 1
Fantasia-like theme
Element 2
Tremolos
Element 1
Fantasia-like theme
Element 3
Chorale texture
legato
Element 1
Rhythmic motif
Element 3
Chorale texture
secco
Element 1
Rhythmic motif
Element 3
Chorale texture
secco
Element 3
Chorale texture
legato
Climax and feverish alternation between elements 1 and 3
Element 2
Tremolos
Element 1
Fantasia-like theme
*Double lines indicate that the score has double bars to divide sections.
The first part introduces three thematic elements. Element 1, a fantasia-like
theme, has left hand ascending arpeggiation, which harmonically supports melismatic
figuration in the right hand (Example 3.36). Element 2 consists of tremolos that appear at
the culmination of element 1 (the fantasia-like theme). This progression from element 1
to element 2 occurs from mm. 1-16 (element 1: mm. 1-12; element 2: mm. 13-16). At m.
17 the fantasia-like theme returns. This second appearance of the fantasia-like theme also
builds to a climax but now uses materials derived from its own gestures as opposed to
tremolos. In mm. 31-32 chords are used to attenuate the returned fantasia-like theme
section that began in m.17. These chords foreshadow element 3, blocked chords in a
chorale texture, which appears at m. 33 (Example 3.37). This final element occurs with
both legato and secco articulations.
A transition occurs from mm. 33-39 and then the second part of the fantasy begins
at m. 40. Measures 40-64 can also be divided into two sections: mm. 40-50 and mm. 5164. The beginning of these two sections starts with the rhythmic motif from element 1 in
61
th
he left hand and
a is follow
wed by elem
ment 3 (Exam
mple 3.38). A
After the secoond double
barline at m. 65, Elementt 3 begins gro
owing in dynnamics and register. A cclimax occurrs at
m.
m 72, with th
he element 3 chords pitteed against thhe left hand aarpeggios off the fantasiaa-like
th
heme. In mm
m. 72-81 therre is a feverish alternatioon between tthese two eleements (1 annd 3)
th
hat culminatees with the bold
b
tremolo
o figures of eelement 2 (m
mm. 82-85). IIn mm. 85-889,
th
hese tremolo
o figures atteenuate to close out this cllimactic secttion. A soft codetta-like
reeprise of the fantasia-likee theme finishes the movvement.
Example
E
3.37
7: Makiko Kinoshita,
K
A Circuit of D
Dreams, I, mm
mm. 33-34
Example
E
3.38
8: Makiko Kinoshita,
K
A Circuit of D
Dreams, I, mm
mm. 40-43
62
Suggestions for Performance
In the preface to the score Kinoshita indicated that the pianist needs to use the
pedal effectively to create interesting colors and reverberations throughout the
movement.15 The performer needs to carefully listen to the sound and make a decision as
to which kinds of pedaling will be the most effective: clear pedal changes, over-lapping
pedal, half-pedal, or no pedal-changes at all. Kinoshita suggests making longer phrases; I
suggest holding the damper pedal longer, as in Prelude 6. Find the point where the sound
becomes overly dissonant, and then adjust your pedaling. Aim to create the maximum
amount of color without over-blurring the sound.
Frequent changes in meter help create an improvisatory feeling. As I mentioned
earlier in the discussion of 9 Preludes, the extended tremolo sections in mm.13-16 and
mm.81-89 (Example 3.30b) also help create the type of dreamy atmosphere that
Kinoshita discusses in the preface to the score. The performer needs to consider this
character as well as effective pedaling.
Since some notes should be held in order to generate a reverberant sound, I have a
few specific fingering suggestions. In m. 1 I would use the right hand to play the F# in
the bass clef. This allows the left hand to hold a C on the downbeat, which could be lost
in half-pedaling, and creates better bass support (Example 3.39). In m. 13 and m. 56 I
would use both hands to play the tremolos with the left hand taking the downbeat
(Example 3.40a and Example 3.40b).
Level of Difficulty: Difficult
15
Kinoshita, A Circuit of Dreams, 2.
63
Example
E
3.39
9: Makiko Kinoshita,
K
A Circuit of D
Dreams, I, mm
mm. 1-2
Example
E
3.40
0a: Makiko Kinoshita, A Circuit of D
Dreams, I, m
m. 13
Example
E
3.40
0b: Makiko Kinoshita, A Circuit of D
Dreams, I, m
mm. 55-56
64
Movement
M
III [CD 1-11]
Stylistic
S
Overrview
In con
ntrast to the first movem
ment, the fastt second movvement sounnds much drier; it
iss highly perccussive and rhythmic.
r
Th
he entire piecce consists oof successivee eighth-notees
an
nd chords. Softer
S
disson
nances, such as major secconds, wholee-tone chordds, and
qu
uartal/quintaal outlines off chords, aree often used. This movem
ment is also similar to
Twisting
T
Land
dscapes in itts percussivee use of the ppiano, rapid sixteenth-noote passagess, and
sttaccato articu
ulations (Co
ompare Exam
mple 3.41 annd mm. 181-183, 205-2225, and 177-1178
of this movem
ment.).
Example
E
3.41
1: Makiko Kinoshita,
K
Tw
wisting Landdscapes, III, mm. 36-38
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Whilee this movem
ment does no
ot necessarilyy have themees, there are many recurrring
melodic
m
and rhythmic
r
mo
otives; these are usually short and diisjunct. Like Prelude 1 oof the
9 Preludes, sttatic pitch co
ollections wiith shifting rrhythmic grooups can be ffound in manny
65
places, hinting at Stravinsky and Bartók. The frequent change of time signatures and the
percussive use of seconds also suggest Bartók.
Like the first movement, this movement does not fit into any traditional form. It
can be divided into seven sections, creating an A B C/A C A A format with an
introduction (See Table 3.3). In the introduction (mm.1-36), Kinoshita explores an
overtone effect (Example 3.42). The effect is caused by a sustained major second dyad (B
and C#) on the down beat in m.1. This dyad is held for seventeen measures and then
reiterated in m. 18. Steady staccato eighth-note motion featuring quartal melodic outlines
often appears against this long, sustained harmony. Each time the melodic idea becomes
a little longer (mm. 6, 11-12, 16-17). In mm. 20-36 it appears in its fullest form over
chordal seconds, thirds, and fourths.
Table 3.3: Form of the second movement
Mm.
1-36
37-70
71-79
Sections
Intro.
Introduction (perpetual eighth-note motion)
A
Theme 1 (mm.31-51) & Perpetual eighth-note motion (staccato)
Eighth-note motion (legato)
80-108
109-114
115-142
143-184
185-226
227-241
B
(C)
C+A
C
A
A
Lyrical melodies in parallel thirds
Chords in back and forth motion
Chords in back and forth motion & Perpetual eighth-note motion (staccato)
Chordal section (highly percussive)
Perpetual eighth-note motion (staccato)
Theme 1 (reprise)
*Double lines indicate that the score has double bars to divide sections.
66
Example
E
3.42
2: Makiko Kinoshita,
K
A Circuit of D
Dreams, II, m
mm. 1-19
The A section pro
oper occurs from
f
mm. 377-79. The firrst theme, whhich includees
perpetual eigh
hth-notes an
nd parallel th
hirds, appearss in mm. 37--51 (Examplle 3.43). Sinnce
th
he music sou
unds much more
m
rhythmiic than meloodic, parallell thirds shouuld be voicedd in
th
he soprano liine for contrrast. Like thee introductioon, the A secction also hass perpetual
eiighth-note motion
m
with staccato
s
articulations annd often featuures quartal melodic
ou
utlines. In mm.
m 71-79 th
he eighth-notte motion beecomes legatto for the first time and lleads
in
nto the lyricaal B section.
67
Example
E
3.43
3: Makiko Kinoshita,
K
A Circuit of D
Dreams, II, m
mm. 37-38
In the B section parallel thirdss are again fe
featured meloodically. As was the casse at
m.
m 37, the thirds are voiceed more prom
minently in the soprano line (Exampple 3.44). Thhey
arre also puncttuated with legato
l
eighth
h-note patterrns that featuure quartal m
melodic outliines,
sttaccato majo
or seconds, and
a perpetuaal motion. Spporadic sixteeenth-note m
motion begins in
mm.
m 96-97 an
nd reappearss in mm. 107
7 and 112-1113. This mottion helps drive the musiic in
th
his section to
o an emphatiic conclusion
n on Bb (m. 114). With iits undulatinng chordal
motion,
m
the en
nd of the B section
s
(mm
m. 109-114) aalso anticipaates and preppares for the
fo
ollowing secction.
Example
E
3.44
4: Makiko Kinoshita,
K
A Circuit of D
Dreams, II, m
mm. 89-94
68
The end of the B section and following C section are highly percussive. The
chordal motion back and forth at the end of the B section grows increasingly rhythmic
and introduces the C section with the same motion and varied rhythms. The C section has
some recurring rhythmic motives: two eighth-note chords (a), repetitive eighth-note
dyads (b), sporadic sixteenth-note motion (c), octave eighth-note motion with quartal
melodic outlines (d), and a group of two sixteenth-notes and one eighth-note (e)
(Example 3.45). While those motives recur many times, they seem to appear almost
randomly. Motive (a) concludes this section in m. 184.
Repetitive eighth-note motion on a G pedal tone initiates the second A section at
m. 185. Notes are gradually added in mm.198-204 (Example 3.33b). As seen in Prelude
9 of the 9 Preludes, this is a trademark of Kinoshita’s compositional style. The first
theme finally returns in m. 227. In contrast to the rather crazy and exciting character of
this movement, the ending fades out with piano dynamic (Example 3.46).
Suggestions for Performance
While the tempo should drive forward in order to create a breathless feeling, it is
important for the pianist to think in bigger phrases. The performer must have a good
sense of flow and direction to make musical sense; otherwise the music tends to sound
like a type writer.
Accents on weaker beats, rests on down beats, irregular metrical shifts, and
disjunctive leaping chords are challenging for most pianists. To gain control of the
perpetual eighth-note passages with both staccato and legato articulations, the hands
should stay close to the keyboard. Avoid always playing loud; it is easy to play loudly
69
Example
E
3.45
5: Makiko Kinoshita,
K
A Circuit of D
Dreams, II, m
mm. 169-1800
Example
E
3.46
6: Makiko Kinoshita,
K
A Circuit of D
Dreams, II, m
mm. 237-2411
70
because of the technical challenges, but a constant dynamic intensity destroys the many
colors of the movement. Control of dynamics is important for an exciting performance.
For repetitive and successive chords, such as the (a) motive in the C section, it might be
helpful to use down-up wrist motions. For disjunctive leaping chords and octaves, make
sure to use integrated arm gestures to get to the next position fluidly. This will help
produce a solid sound.
Level of Difficulty: Difficult
Summary
While Kinoshita’s revision of A Circuit of Dreams became more pianistic than the
older version, the two newer versions of the movements still represent Kinoshita’s early
works. At times the multiplicity of ideas in a single movement, especially the second
movement, make the music sound pluralistic. Yet these more advanced concert pieces are
dynamic works, containing rhythmic and harmonic intricacies that present considerable
challenges to the performer.
Circuit of Dreams, Overall Level of Difficulty as a Whole: Difficult
71
Alice in Wonderland
The Piano Pieces for CHILDREN for Small Hands
In 1993 Kinoshita was commissioned by the Edition KAWAI16 to compose music
for a series entitled The Piano Pieces for CHILDREN.17 She decided to compose a suite
related to the fairy tale Alice in Wonderland by Lewis Carroll.18 Since this suite was
intended for children, Kinoshita composed music inspired by the colorful Disney
children’s picture book Walt Disney’s Alice in Wonderland.19 Kinoshita believes that
Alice, the main character in this story, shares characteristics with girls today who are
precocious and have an adventurous spirit.20 She specifically chose a story that has a girl
as a main character because the majority of young piano students in Japan are girls.21
Kinoshita’s imaginative setting is helpful for enhancing musicality and expressive
playing. In the score, which includes ten pieces, each piece includes a short description of
Alice’s story, Kinoshita’s comments for the performer, and a charming illustration
(Figure 3.1).22 Kinoshita’s commentary is creative and descriptive and works to guide
students’ musical imaginations. The charming illustrations on the score also help young
16
Edition KAWAI is a major music publication company in Japan.
Twenty five major Japanese contemporary composers, including Shinichiro Ikebe, Yoshinao Nakada,
and Akira Miyoshi (b. 1933), have been commissioned by this series to promote method books for children
in Japan. Some scores have titles in both Japanese and English. Others have titles only in Japanese. The
English titles are not consistent; some, like Alice in Wonderland, have CHILDREN in capital letters.
However, Japanese titles are always the same こどものためのピアノ曲集 (Kodomono tameno Piano
Kyokushu).
18
Lewis Carroll, Alice in Wonderland, 2nd ed. (New York: W.W. Norton & Co., c1992).
19
Kinoshita was inspired by both the book and movie by Walt Disney. The VHS that Kinoshita watched is
out of publication, Alice in Wonderland, Walt Disney Classics, VWDS5598, DVD, 2010 is the closest one
that is available today.
20
Makiko Kinoshita, Preface to Alice in Wonderland (Tokyo: Edition KAWAI, 1993), 3.
21
Kinoshita, interview answers to author, February 1, 2011.
22
Edition KAWAI inserted illustrations in the process of publication. The illustrator and Kinoshita did not
have any connections.
17
72
pianists betterr understand
d the musicall concepts off the piece aand allow theem to connecct the
sttory to the so
ound.
Figure 3.1: Illlustration ex
xcerpt from “Alice
“
in thee Golden Aft
fternoon”
As thee work contiinues, the lev
vel of difficuulty increasees and each ppiece gets longer.
Kinoshita
K
inteended this su
uite to be forr students whho just havee finished Beeyer’s
Elementary
E
In
nstruction Book
B
for the Piano
P
Forte and who aree working onn sonatinas aand
eaasier sonatass by compossers in the Cllassical era.223
Owing
g to the brev
vity of the piieces, I will nnot use headdings to subddivide the
discussions of each piece. Nevertheleess, these disscussions folllow the struucture of the
23
In Japan, this method book by
b Beyer is verry popular andd commonly used by teachers. It was broughht by
American
A
musicc educator, Lutther Whiting Mason
M
(1818-18896) to Japan iin 1881.
73
prreceding secctions of thiss chapter in that
t brief styylistic overviiews segue innto
co
onsideration
ns of the perfformance isssues.
1. Alice in th
he Golden Afternoon
A
[C
CD 2-1]
This first piece in
ntroduces th
he pianist to A
Alice at the point in her story wheree she
iss falling asleep in the shaade under a tree.
t
To helpp create this image, Kinooshita suggests
th
hat pianists play
p this piecce like a lullaby.
The th
heme of this piece return
ns in varied fform in manny of the subsequent piecces
(E
Example 3.4
47). The form
m is ABA’ an
nd the key iss C major. K
Kinoshita onlly uses simpple
trriads in this piece
p
and offten uses thesse triadic chords as color changes. F
For instance,
sh
hifts from major
m
to the parallel
p
mino
or are used frrequently forr color (mm
m.10-11, 18-119,
26-27, 30-31,, 42-43, and 50-51) (Exaample 3.47).
Kinosshita primarily uses hom
mophonic wriiting: a simpple melody inn the right haand
ov
verlays acco
ompanimentaal broken ch
hords in the lleft. Becausee of the rightt hand meloddy,
th
his piece is useful
u
for dev
veloping lyrricism.
Level
L
of Diffficulty: Easy
y
Example
E
3.47
7: Makiko Kinoshita,
K
Allice in Wondderland, no.11, mm. 10-144
74
ole [CD 2-2]
2. Down thee Rabbit-Ho
This piece
p
describ
bes Alice chaasing a rabbiit that dives into a hole. Continuous
t
th
he piece, muusically reprresenting a chhase.24 The kkey
siixteenth-notees are used throughout
iss again C maajor and the form
f
is ABA
ACA with a short introduuction (mm. 1-4). The
teexture is hom
mophonic, feeaturing a meelody with aalberti bass aaccompanim
ment (Examplle
3.48). In the A section miinor secondss are used peercussively ((mm. 11-12, 19-20, and 33940) which hellps the music sound play
yful and hum
morous (Exam
mple 3.49).
Example
E
3.48
8: Makiko Kinoshita,
K
Allice in Wondderland, no.22, mm. 5-8
Example
E
3.49
9: Makiko Kinoshita,
K
Allice in Wondderland, no.22, mm. 11-122
24
This is similarr to Prelude 7 in
i 9 Preludes, especially in m
mm.45-48 in “D
Down the Rabbbit-Hole” and m
mm.
54
4-58 in Preludee 7 (See Examp
ples 3.16 and 3.17).
3
75
In the B section (m
mm. 21-32) the right hannd takes oveer the accomppanimental rrole
an
nd the melod
dy switches to the left haand. In the C section (mm
m. 41-52) siixteenth-notee
passages that first appeareed as broken
n chords in bboth A and B sections beecome a longg
descending ch
hromatic passsage describ
bing Alice aand the rabbiit’s fall downn the hole
(E
Example 3.5
50).
Thoug
gh the musicc is fun and very
v
descripttive of narraative events, playing the
acccompanimeental sixteen
nth-note brok
ken chords e venly mightt be tricky too play (Exam
mple
3.45). This piiece is useful for improv
ving delicate and fast fingger techniquue.
Level
L
of Diffficulty: Interrmediate
Example
E
3.50
0: Makiko Kinoshita,
K
Allice in Wondderland, no.22, mm. 41-522
76
3. Pool of Teears [CD 2-3
3]
After chasing the rabbit, Alicee loses its traacks and findds herself inn a strange w
world
where
w
she gro
ows bigger and
a then smaaller withoutt control. Whhen she expaands, Alice
begins crying
g and her tearrs form a deep pool. Thiis piece depiicts Alice’s cchange in sizze
with
w tempo ch
hanges and her
h crying with
w grace nootes.
The fiive sections in this piecee are indicateed by differeent tempo maarkings. Thee first
seection acts as
a an introduction. The music
m
impliess A minor annd describess Alice’s anxxious
feeeling of beiing lost in a strange
s
worlld. Grace no tes indicate her droppingg tears (Exam
mple
3.51).
Example
E
3.51
1: Makiko Kinoshita,
K
Allice in Wondderland, no.33, mm. 1-4
Alice’’s theme from
m the first piece of the sset, “Alice inn the Goldenn Afternoon,””
ap
ppears in varrious forms. In mm. 21-22 the left hhand broken chord accom
mpaniment
becomes desccending brok
ken chords, not
n ascendinng broken chhords as in thhe original thheme
(E
Example 3.5
52). The last two notes off the melodyy also signifyy Alice’s droopping tears.
Near
N the end of this sectio
on (mm. 21--39) Alice beegins growinng bigger wiith poco a pooco
crrescendo and
d accelerand
do markingss from mm.3 6-39 (Exam
mple 3.53).
77
Example
E
3.52
2: Makiko Kinoshita,
K
Allice in Wondderland, no.33, mm. 21-244
Example
E
3.53
3: Makiko Kinoshita,
K
Allice in Wondderland, no.33, mm. 33-444
In
n the Poco più
p mosso secction (mm. 40-55)
4
there are more grrace notes inndicating Alice’s
laarger tears. This
T section also uses thee broken acccompanimennt and dottedd rhythmic
motive
m
from Alice’s
A
origiinal theme.
At thee beginning of
o the Più mosso sectionn (mm. 56-577) Alice becomes smalleer
an
nd almost drrowns in herr big pool off tears (Exam
mple 3.54). A
Alice’s themee appears in the
78
riight hand in mm. 58-60. The piece ends on a G sseventh chorrd, giving “P
Pool of Tearss” an
un
nfinished feeeling.
Example
E
3.54
4: Makiko Kinoshita,
K
Allice in Wondderland, no.33, mm. 56-61
This piece
p
is moree musically and
a technicaally complexx than the firrst two piecees.
Tempo
T
chang
ges might be especially challenging
c
ffor the younng performerr. Imagining the
sttory and scen
ne will help the student understand
u
aand interprett the music, and will alsoo
asssist in achieeving a betteer flow. Thiss piece proviides a good ttrill exercisee for the left
hand, exercises in grace notes,
n
and paarallel third pplaying withh both legatoo and staccatto
arrticulations.
Level
L
of Diffficulty: Interrmediate
4. The Dodo
o and a Stra
ange Race [C
CD 2-4]
When
n Alice gets to
t the shore of the tear ppool, she seess many strannge creaturess.
They
T
are all dripping-wet
d
t because of Alice’s tear s. They begiin running inn a circle to dry
79
themselves. Motoric eighth-note passages with staccato articulations throughout the piece
describe this drying race and create a cheery sense of playfulness.
While there is no key signature on the score, the music sounds in F major. The
texture is homophonic and, like “Down the Rabbit Hole,” the form is ABACA with an
introduction.
Here the introduction focuses on playing thirds. Since there are no fingering
indications on the score, the performer must devise good fingerings to play the thirds
evenly and smoothly. For example, I suggest using both hands to play parallel thirds until
the third beat in m. 2. This will allow students to articulate the passage with better
control.
The race commences at m.20, which is the beginning of the A section (Example
3.55). Major seconds are used percussively, as in “Down the Rabbit-Hole” (Example
3.56). The C section has melodies in the left hand; trills and chromatic passages are also
introduced in many places. These trills and chromatic passages are short and help prepare
students for longer trills and chromatic scales in the latter pieces of the set. Alone, this
piece presents a good opportunity for practicing thirds, staccatos, trills, and sixteenth-note
and chromatic passages at a fast tempo.
Level of Difficulty: Late intermediate
80
Example
E
3.55
5: Makiko Kinoshita,
K
Allice in Wondderland, no.44, mm. 19-255
Example
E
3.56
6: Makiko Kinoshita,
K
Allice in Wondderland, no.44, m.27
5. Advice fro
om a Caterp
pillar [CD 2-5]
2
In the fifth piece of
o the set, Allice meets a caterpillar w
who is lazilyy smoking a
moky, dull annd gloomy attmosphere w
which
hookah in thee woods. Thee caterpillar creates a sm
iss represented
d by long trillls (Examplee 3.28). For tthe first timee in the set w
we have a shift in
key signaturee to G minor;; however many
m
accidenntals make itt hard to tell that this piece is
in
n G minor. Kinoshita’s
K
use
u of an A major
m
triad inn the last meeasure to endd the piece iss
esspecially decceptive (Exaample 3.30a)).
81
The fo
orm is ABA’ with an inttroduction. T
The reprised A’ section iis compresseed; it
has only 15 measures
m
whereas the firsst A section has 39. Whiile the A secctions focus on
ntroduces paarallel thirds moving chroomatically. T
The
trrills and gracce notes, the B section in
music
m
in this section seem
ms to depict the caterpilllar moving slowly: gut-ffirst, body-laater.
This piece
p
is a goo
od exercise for
f practicinng trills and ggrace notes. Short trills ooften
ap
ppear on thee upbeat (the third beat of
o the 3/4 meeter) and are sometimes ffollowed by
grrace notes. These
T
are triccky to conneect smoothlyy. I suggest uusing measuured trills, in
which
w
the perrformer may
y decide how
w many trills to play in a beat. One of Kinoshita’s
trrademarks, lo
ong tremolos, is also useed in this pieece in mm.299-32 (Exampple 3.57) andd 6871 (Example 3.30a). Both
h the trills an
nd tremolos pportray wispps of smoke floating up in
th
he air.
ges, this piecce focuses heeavily on muusical expresssion.
Aside from techniical challeng
Creating
C
a convincing mo
ood is essenttial. Withoutt a lazy, smooky atmosphhere, the mussic
will
w sound sq
quare and lifeeless. The peerformer shoould shift thee musical doownbeat to crreate
a variety of em
mphases on different beats. The mussic must nott be predictabble in order to
reepresent the caterpillar’ss slow, uneveen pace.
Level
L
of Diffficulty: Latee intermedia
ate
Example
E
3.57
7: Makiko Kinoshita,
K
Allice in Wondderland, no.55, mm. 29-322
82
6. Cheshire Cat [CD 2-6
6]
For th
his piece, Kin
noshita was inspired by an image froom the Disneey movie Allice
n Wonderlan
nd wherein th
he Cheshire cat slowly ddisappears unntil only its grin remainss.25
in
The
T music co
onveys the weird
w
motions of this big fat cat.
The fo
orm is ABA’. This is a to
onal piece thhat stays in tthe key of D major
th
hroughout. Both
B
the A an
nd B section
ns include paarallel thirds. A dotted-eighth-sixteennth
rh
hythm also characterizes
c
s the melody
y of the A secction (Exam
mple 3.58). T
The B sectionn also
in
ncludes majo
or seconds, which
w
appeaar as an accom
mpaniment.
The teechnical focu
us of this pieece is chrom
matic passagees in parallell thirds (Exam
mple
3.58). These occur
o
mostly
y with stacca
ato articulatiions. There aare also manny syncopateed
hythms, inclu
uding accen
nts on weakerr beats and rrests on dow
wnbeats. Kinooshita
rh
en
ncourages th
he performerr to emphasize accents aand dynamicss in order to give the muusic a
seense of origiinality and ownership.
o
Here
H the perfo
former shoulld choose whhich accents and
dy
ynamics to emphasize.
e
Level
L
of Diffficulty: Interrmediate
Example
E
3.58
8: Makiko Kinoshita,
K
Allice in Wondderland, no.66, mm. 1-3
25
Kinoshita, Aliice in Wonderla
and, 28.
83
7. A Mad Tea-Party Never Ends [CD 2-7]
In this scene, time stops while the March Hare and the Mad Hatter have a rather
crazy and absurd tea party. Since they do not notice their watches have stopped, they
drink tea continuously. The Mad Hatter seems to chatter incessantly, interrupting others
as they speak, and this happens in the C sections of this piece.
The key signature of “A Mad Tea-Party Never Ends” is F major, but the key often
changes because of accidentals. The time signature is 9/8, with occasional switches to
6/8. The form could be rondo (A B A’ C A’’) with a short introduction or large-scale
ternary (See Table 3.4). The C section is a miniature rondo in which a lyrical theme keeps
recurring. Each section has its own theme and every section but the C section includes
hemiola rhythms.
Table 3.4: Form of “A Mad Tea-Party Never Ends”
Sections
I
A
B
A’
II
C
Miniature Interruption
rondo
C (continued)
Interruption
Transition
Retransition
C
Extended
transition
I
A’’
Mm.
(Introduction 1-2) - 18
19-34
35-51
52-57
58-59
60-65
66-67
68-75
76-79
80-87
88-99
100-121
Primary theme
LH: off-beat accompanimental pattern
Primary theme
Lyrical theme
Vertical motion in the left hand
Lyrical theme
Vertical motion in the left hand
Sequence
Vertical motion in the left hand
Lyrical theme
Vertical motion in the left hand
Primary theme
84
The A section hass a memorab
ble theme thaat repeats maany times thrroughout thee
piece (Examp
ple 3.59). A left hand offf-beat accom
mpanimental pattern signnifies the B
seection. Both the A and B sections are energetic aand jovial.
Example
E
3.59
9: Makiko Kinoshita,
K
Allice in Wondderland, no.77, mm. 3-4
ntrast to the lively
l
characcter of A andd B sections, the C sectioon has a lyriical
In con
qu
uality. In mm
m.52-57 Kin
noshita also uses
u a polypphonic texturre; this is unique becausee
Kinoshita
K
usu
ually uses a homophonic
h
c texture (Exxample 3.60)). While the lyricism deffines
th
he character of the C secction, the Maad Hatter oftten interruptss the melodiic line. For
ex
xample, unexpected verttical motion appears in tthe left handd in mm. 63 aand 83. Thiss
motion
m
is tricky because it
i moves chrromatically iin parallel m
major seconds with staccaato
arrticulations (Example
(
3.61a and Exaample 3.61b)).
The trransition (mm
m. 68-75) in
ntroduces a nnew theme inn the right haand in paralllel
th
hirds; the lefft hand accom
mpanies the right hand w
with grace nootes (Exampple 3.62a). Inn the
cllosing A secction these paarallel thirdss and grace nnotes reappeear in conjunnction with thhe A
seection’s own
n thematic material
m
(Exaample 3.62b)).
85
Example
E
3.60
0: Makiko Kinoshita,
K
Allice in Wondderland, no.77, mm. 52-577
Example
E
3.61
1a: Makiko Kinoshita, Alice
A
in Wonnderland, no.7, m. 63
Example
E
3.61
1b: Makiko Kinoshita, Alice
A
in Wonnderland, noo.7, mm. 83
86
Example
E
3.62
2a: Makiko Kinoshita, Alice
A
in Wonnderland, no.7, mm. 67-775
Example
E
3.62
2b: Makiko Kinoshita, Alice
A
in Wonnderland, noo.7, mm. 1166-121
87
The overall mood
d of this piece is happy annd humorouus. As Kinoshhita indicatees in
her comments on the scorre, this piecee is more tecchnically diff
fficult than thhe earlier sixx
his piece incllude an unussual time siggnature (9/8),
pieces.26 The technical elements in th
hemiola rhyth
hms, dynamiic contrasts, frequent moood changes, and abrupt leaping choords.
There
T
are sections with mirror
m
and paarallel motioons in both hands, such aas m.26 and
mm.104-105
m
(Examples 3.63a
3
and 3.63b). These sections souund better iff the left handd
uses less dynaamic range and
a is generaally quieter tthan the righht.
For th
he transition section, app
propriate finggerings and ssmooth arm motions aree
m
74-75
7
and 11
17-119. Thesse might be especially ddifficult for yyoung
necessary in mm.70-71,
sttudents becaause of the usse of hemiolla rhythms aand shifting ppositions in bboth hands. I
su
uggest the fo
ollowing fing
gerings for those
t
sectionns: the left haand should uuse fixed
fiingerings 2 and
a 3 for all the grace no
otes, and the right hand sshould use close positionned
fiingerings (Ex
xamples 3.62a and 3.62b
b). Masterinng this piece will certainlly open the ddoor
fo
or more advaanced reperttoire.
Level
L
of Diffficulty: Med
dium difficu
ult
Example
E
3.63
3a: Makiko Kinoshita, Alice
A
in Wonnderland, no.7, m. 26
26
Kinoshita, Aliice in Wonderla
and, 32.
88
Example
E
3.63
3b: Makiko Kinoshita, Alice
A
in Wonnderland, noo.7, mm. 1044-105
CD 2-8]
8. The Queeen’s Croqueet-Ground [C
The tw
wo sections in
i this piece describe thee two eventss of the storyy, the Queenn’s
march
m
and heer croquet gaame. The Qu
ueen’s marchh has two theematic ideas: a fanfare foor
her appearancce and her acctual march. The fanfaree theme imitates a trumppet sound
(E
Example 3.6
64) while herr march is deepicted by chhords in bothh hands. Kinnoshita indiccates
th
hat the performer should
d play those chords
c
with dignity.27
Example
E
3.64
4: Makiko Kinoshita,
K
Allice in Wondderland, no.88, mm. 1-7
27
Kinoshita, Aliice in Wonderla
and, 42.
89
When
W
the Qu
ueen and her servants plaay a croquet game, the m
motion of a crroquet ball iin the
game is conveyed by chro
omatic scalees in the righht hand and bbouncing leaaping chordss in
he left (Exam
mple 3.65). The
T themes from
f
“Alice in the Goldeen Afternoonn” and “Cheeshire
th
Cat”
C also app
pear in this movement
m
(E
Example 3.666).
Example
E
3.65
5: Makiko Kinoshita,
K
Allice in Wondderland, no.88, mm. 89-922
Example
E
3.66
6: Makiko Kinoshita,
K
Allice in Wondderland, no.88, mm. 76-777
90
The form of this piece is rather hard to define and could be quasi rondo form or
ABA’ form (See Table 3.5). There are double bars between mm. 41 and 42 and between
mm. 88 and 89, dividing the Queen’s croquet game from her march. The opening and
ending of this piece is symmetrical; it begins with fanfare and march and ends with
march and fanfare. Within the piece fanfare is used to introduce the croquet game.
Table 3.5: Form of “The Queen’s Croquet-Ground”
Mm.
Themes
1
F
Rondo
form
Largescale
ternary
6
Q
25
Q+
Alice
35
F
42
C
68
Cat + Q
76
Alice
+ Cat
80
Q
84
F
A
B
C
A (Queen’s fanfare and
march)
B (Croquet game with other characters )
A’
88
C
101
(C) + Q
B’
A’’ (coda)
110
F
A’ (Queen’s
fanfare and
march)
*Double lines indicate that the score has double bars to divide sections.
F = fanfare
Q = Queen’s march
C = croquet game
Alice = Alice’s theme
Cat = Cheshire Cat’s theme
The technical focuses in this piece are playing triplets and duplets at the same
time (two against three), open fifths and triadic chords, and chromatic scales. The
Queen’s croquet section is especially difficult because of its fast chromatic scales. There
are also many contrasting musical ideas and these create several musical challenges.
Contrasting tone colors must be used for the trumpet like fanfare, the bouncing croquet
ball, and the grand dignified march, as well as Alice’s and the Cheshire Cat’s returning
themes.
Level of Difficulty: Medium difficult
91
9. The Trial in a Muddle [CD 2-9]
This piece acts as grand finale for the set and includes much of the main thematic
material from the earlier pieces. The themes that recur the most are the Queen’s march
and fanfare, indicating her dominance over the trial. The Table 3.6 below shows the
appearances of the themes.
Table 3.6: Form of “The Trial in a Muddle”
Mm.
1
19
65
74
90
99
110
124
130
134
Themes
Queen
Mad tea- party
Queen
Rabbit + Alice
Queen + Alice
Caterpillar
Dodo + Alice
Queen
Alice
Queen
Keys
E
F
E
C
Whole-tone
Gm
F
E
Whole-tone
E
*Double lines indicate that the score has double bars to divide sections.
Like the title suggests, the reappearance of earlier themes seem to muddle this piece.
Each theme is slightly varied in rhythm and grows more complex with the addition of
notes. For example, here the left hand of the Rabbit’s theme has A-flat and E-flat major
chords on the fourth beat; before it only used C major chords (Examples 3.67 and 3.48).
These variances create many shifts in color but also increase the technical difficulty of
the work.
As Kinoshita states in the score, the form of this piece is a quasi-rondo. The first
section in mm.1-18, which includes the Queen’s march, and the second section in
92
mm.19-64,
m
which
w
draws from
f
“A Maad Tea-Partyy Never Endss,” are relativvely long
co
ompared to the
t other secctions. The mad
m tea-partyy section inccludes themees from it’s A
an
nd C section
ns as well as transitory materials,
m
succh as extendeed transitionn and interruuption
(ssee Table 3.4
4). In mm. 74-89 the Rab
bbit’s themee has a tremoolo accompaaniment; in itts
orriginal form it had a broken chord acccompanimeent (Example 3.67).
Example
E
3.67
7: Makiko Kinoshita,
K
Allice in Wondderland, no.99, mm. 74-755
One of
o Alice’s theemes also ap
ppears at the end of this ““Rabbit” secction (Exampple
3.65). In mm..90-98 the Queen’s
Q
them
me comes bacck in the rigght hand and Kinoshita
qu
uotes the wh
hole-tone, sw
wirling gestu
ure in the left
ft hand that rrepresented A
Alice’s pool of
teears (Example 3.68). Thee “Caterpillaar” section, ffollowing at m. 99, appeears in 4/4 tim
me
ass opposed to
o its original 3/4 time. In
n mm.140-1443, Kinoshitaa uses a longg chromatic scale
frrom the Queen’s croquett game in thee left hand too end the pieece (Examplle 3.69).
This piece
p
is the most
m difficullt in the set. K
Kinoshita m
mentions on tthe score thaat this
piece should be
b learned as
a a review piece
p
for the performer w
who has studdied all the eaarlier
pieces.28
Level
L
of Diffficulty: Med
dium difficu
ult
28
Kinoshita, Aliice in Wonderla
and, 50.
93
Example
E
3.68
8: Makiko Kinoshita,
K
Allice in Wondderland, no.99, mm. 88-966
Example
E
3.69
9: Makiko Kinoshita,
K
Allice in Wondderland, no.99, mm. 140-143
94
10. After thee Dream [CD 2-10]
This piece
p
is an arrrangement of
o the first ppiece of the sset, “Alice inn the Goldenn
Afternoon.”
A
Alice
A
wakes up under thee tree and reealizes that hher adventuree in Wonderrland
was
w a dream. Still sleepy,, she enjoys the afterglow
w of her dream.
“Afterr the Dream”” retains the same key annd ABA form
mat as “Alicce in the Gollden
Afternoon.”
A
A short intro
oduction in mm.
m 1-9, how
wever, depiccts dreamy aand obscure
musical
m
charaacters with a long tremollo line (Exam
mple 3.70). K
Kinoshita usses whole-toone
ch
hords in thiss long tremollo section with parallel vvoice-leading.
Example
E
3.70
0: Makiko Kinoshita,
K
Allice in Wondderland, no.110, mm. 1-9
The melody
m
is alm
most the sam
me as the firstt piece; but hhere it is acccompanied bby
more
m
colorfull harmonies. Kinoshita uses
u extended tertian choords in this ppiece whereaas
siimple triadicc chords suffficed in the first
f
piece off the set. Thoose extendedd tertian chorrds
give this harm
monization of
o the melody
y a jazz-likee quality. Thee left hand pplays brokenn
acccompanimeental pattern
ns, using a wiider range o f the keyboaard than the oother pieces. In
th
he B section,, Kinoshita uses
u oppositee dynamics tto the first ppiece, markinng the musicc p
95
instead of mf. She also adds a few extra measures at mm. 42-43 and mm. 62-65.
Fingerings should be carefully considered in order to play the left hand smoothly and not
accented.
Level of Difficulty: Intermediate
Summary
While this programmatic suite is meant for children, it would give pianists of all
ages ample opportunities to develop technique and musicality. In particular, students
could work on percussive playing, passages in thirds, chords, staccato and legato
articulations, chromatic scales, trills, tremolos, grace notes, and polyrhythms (see Table
3.7). Furthermore, pieces in a fast tempo will develop finger dexterity and pieces with
chords will develop arm and hand support.
By studying the whole set, students can learn a significant amount about musical
structure and form. For example, nos. 1 and 10 are symmetrical and unify the set. Each
character of the story has its own musical theme and when these themes reappear in other
pieces they are usually varied and embellished.
Table 3.7: Summary of Technical Focuses in Alice in Wonderland
Percussive playing
Passages in thirds
Chords
Staccato articulations
Legato articulations
Chromatic scales
Trills
Tremolos
Grace notes
Polyrhythm
nos.2, 4, 7, and 9
nos.3, 4, 5, 6, 7, 8, and 9
nos.7, 8, and 9
nos.4, 5, 7, 8, and 9
nos.1, 3, and 10
nos.2, 4, 5, 6, 7, 8 and 9
nos.3, 4, 5, 6, and 9
nos.2, 5, 9, and 10
nos.3, 5, 7, 8, and 9
nos.5, 8, and 9
96
Yet while this suite offers so many opportunities for developing and improving
pianism, it might be technically challenging for young pianists. Michiko Asai, the first
pianist to record the whole set, asserted that it is impossible for children to play these
pieces well.29 One of the reasons why this set may be more difficult is because there are
no fingering markings in the score. In fact, Kinoshita has never put any fingering
markings in her piano music. For her, fingerings have never caused problems and she
never thought that giving fingering markings would be helpful for developing pianists.
After receiving feedback from several colleagues, Kinoshita did agree that the set was
difficult and suggested that perhaps it was better suited for children to listen to than to
play.30 Although this may make the entire set less accessible for younger and less
experienced students, these students could easily learn specific pieces of the set. As
students grow older and gain more musical skills, the set as a whole may become more
appropriate.
Alice in Wonderland, Overall Level of Difficulty: Easy – Medium difficult
29
30
Alice in Wonderland, Victor Entertainment VICS-61218, CD, 1999.
Kinoshita, interview answers to author, February 1, 2011.
97
Works for Children
Kinoshita has composed several independent short pieces specifically for children
to play.31 Many of these pieces have lively and imaginative names, including Hop, hop
and Song Sung by a Dog Looking at its own Tail, which stimulate interest by relating the
music to a child’s everyday life. These pieces are stylistically much simpler than those in
Alice in Wonderland, often following ternary (ABA’) form. The keys are usually simple,
such as C, F, G, and D major, but Kinoshita adds sophisticated harmonic colors by
inserting accidentals in many places. Only Children’s Song in Africa is completely
diatonic.
Hop, hop (1988) [CD 2-11]
This piece was first published in The Collection of Piano Pieces by Composers
for Children: Message 7 in 1988 and again in Carnival: Piano Solo Album for Recitals in
1997.32 In the score Kinoshita suggests playing this piece with joy by imagining a little,
naughty bunny hopping and playing.
The piece is in the happy key of C major and is filled with staccato articulations
and syncopations. Accents are usually placed on weaker beats in cut time (Example
3.71). Trills (m. 3), chromatic scales (m. 4), and grace notes (m. 40) provide additional
technical challenges for the young performer. Linear chromatic bass motion in mm.17-25
31
These pieces were published by Edition KAWAI separately in The Collection of Piano Pieces by
Composers for Children. Today this series is difficult to find, however some individual copies can be
obtained from the online music store Edition KAWAI ONLINE. “Edition KAWAI ONLINE,” accessed
January 5, 2011, http://editionkawai.jp/.
32
発表会ピアノ曲集 カーニバル (Happyo-kai Piano kyokushu: Carnival) [Carnival: Piano Solo
Album for Recitals] is published by Edition KAWAI. The book is one of three books that Edition KAWAI
chose suitable repertoire for a recital among pieces that had been published in The Collection of Piano
Pieces by Composers for Children in the series 1-10.
98
(E
Example 3.7
72) also servees as an exam
mple of a moore advanced compositioonal techniqque in
a simpler settting: we saw
w this techniq
que prior in 9 Preludes.
Level
L
of Diffficulty: Easy
y
Example
E
3.71
1: Makiko Kinoshita,
K
Hop,
Ho hop, mm
m. 1-4
Example
E
3.72
2: Makiko Kinoshita,
K
Hop,
Ho hop, mm
m. 16-25
99
The
T Lion witth the GI ha
aircut (1989
9) [CD 2-12]]
For th
his piece Kin
noshita was inspired
i
by a poem of thhe same title by Takashi
Yanase
Y
(b. 19
919).33 The poem
p
describ
bes a kind lioon who has his mane cuut short in ordder
to
o make a preesent for his beloved. Th
his piece wass republishedd in 1994 in the omnibuss
volume The Collection
C
off Piano Piecces by Compoosers for Chhildren.34 For this
pu
ublication, anonymous
a
musicians
m
ch
hose their favvorite piecess from the seeries in
co
ommemoration of its 20th anniversarry.
The piece focusess on rhythmss: the left hannd has rhythhmic patternss that are
reeminiscent of
o Latin musiic35 (Example 3.73). Thee G major m
melody is quiite catchy annd
many
m
places present
p
the melody
m
in paarallel thirdss, much like a song in tw
wo voices.
Level
L
of Diffficulty: Easy
y
Example
E
3.73
3: Makiko Kinoshita,
K
Th
he Lion withh the GI hairrcut, mm. 1-33
33
Takashi Yanaase, Aisuru Uta
a [Love songs] (Tokyo: Sanrio-sha, 1977).
Makiko Kinosshita, “The Lio
on with the GI haircut.” in Thhe Lion with thee GI haircut, eed. Japan Federration
off Composers (T
Tokyo: Edition
n KAWAI, 199
94).
35
This left hand
d rhythmic pattern is based on
n habanera rhytthm which is ooriginally from
m Cuba. Howevver it
is known from Spain
S
because of
o Bizet’s Carm
men.
34
100
Song Sung by a Dog Loo
oking at its own Tail (11990) [CD 22-13]
This piece
p
was pu
ublished in The
T Collectioon of Piano P
Pieces by Coomposers forr
Children
C
by 44
4 Composerrs for Childrren: Animal Chapter 1. K
Kinoshita also composedd a
ch
horal work with
w the sam
me title in 199
95; howeverr that music ddoes not relaate to this soolo
piano piece.
The tiitle of this piiece comes from
f
anotherr poem by Takashi Yanaase. This poeem
describes a do
og that wond
ders why its tail waggless when he is happy and hhangs down
when
w
he is saad. In the mu
usic only the dog’s wagggling tail is ddepicted: graace notes andd
sttaccato articculations creaate the imag
ge of a happyy puppy (Exaample 3.74).
The piece starts in
n C major an
nd modulatess to A-flat m
major in the B section in m. 9.
Technical
T
issu
ues include learning
l
to play
p triplets and grace nootes. There aare sections w
with
parallel and mirror
m
motions in both haands (mm.122 and 16), w
which are sim
milar to “A M
Mad
Tea-Party
T
Neever Ends” frrom Alice in Wonderlandd.
Level
L
of Diffficulty: Easy
y
Example
E
3.74
4: Makiko Kinoshita,
K
So
ong Sung by a Dog Lookking at its ow
wn Tail, mm. 1-4
101
Children’s
C
Song
S
of Africca (1991) [C
CD 2-14]
This piece
p
is influ
uenced by Eaast African ffolk music annd contains shifting metters.36
n fact, the main
m technicaal focus is rhy
ythm. The cconstant alterrnation of 5//8 and 2/4 tim
me
In
may
m be tricky
y until the peerformer getss used to thee patterns (E
Example 3.755). Kinoshitaa
in
nstructs the performer
p
to
o play rhythm
mically and vvigorously aand to imaginne the broadd
eaarth of Africca. The key is
i G major, with
w no addeed accidentalls, and the ddynamics rannge
frrom mf to f. This piece is
i useful for learning synncopations, aaccents, playying in thirdss,
an
nd playing in
n irregular meters.
m
Level
L
of Diffficulty: Easy
y
Example
E
3.75
5: Makiko Kinoshita,
K
Ch
hildren’s Song of Africaa, mm. 1-4
Soft
S Bavaria
an Creme (1
1994) [CD 2-15]
2
This piece
p
was pu
ublished in The
T Collectioon of Piano P
Pieces by 422 Composerss for
Children:
C
Thee Piano Resttaurant. Wh
hen Kinoshitaa was a childd, Bavarian ccreme was hher
36
Kinoshita, interview answerrs to author, Feebruary 1, 20111. Kinoshita wrrote this piece because of thee
sttrong impressio
on that East Affrican music left on her after she first heard it from a CD.
102
faavorite snack
k. She composed this parrticular mussic with mem
mories of thaat delicious
taaste.37
h
piece focusees on lyricall playing in tthe right hannd over rolleed
This homophonic
ch
hords in the left hand. Th
he left hand rolled chordds use smootth voice-leadding, which is
siimilar to Preelude 6 in 9 Preludes.
P
Th
he melodic liines are usuaally in the right hand butt are
occasionally taken
t
by thee left. An imiitative sectioon in mm.133-16 has the lleft hand echho
th
he right (Exaample 3.76).
Kinosshita instructts the perform
mer to play tthe melody llike it is beinng sung.38 Thhe
performer alsso needs to play
p smoothly when a crooss-melody occurs betw
ween hands inn
mm.23-26
m
(E
Example 3.77
7). The audieence should not hear whhen the hand switches.
Because
B
this piece
p
contains dotted rhy
ythms and roolled chordss it may be a good exerciise to
leearn before Preludes
P
4 an
nd 6 from 9 Preludes (E
Example 3.788).
Level
L
of Diffficulty: Easy
y
Example
E
3.76
6: Makiko Kinoshita,
K
Sofft Bavarian Creme, mm
m. 12-16
37
Makiko Kinosshita, “Soft Baavarian Cream.” in The Collecction of Piano Pieces by 42 C
Composers for
Children:
C
The Piano
P
Restaura
ant, ed. Japan Federation
F
of C
Composers (Tokkyo: KAWAI, 1994-5), 6.
38
Ibid.
103
Example
E
3.77
7: Makiko Kinoshita,
K
So
oft Bavarian Creme, mm
m. 20-27
Example
E
3.78
8: Makiko Kinoshita,
K
Sofft Bavarian Creme, mm
m. 8-11
A Memorablle Lemon Piie (1995) [C
CD 2-16]
This piece
p
was co
omposed in 1995
1
and pubblished in 19996 in The C
Collection off
Piano
P
Pieces by Composeers for Child
dren: The Deessert 1. Thee title comess from
Kinoshita’s
K
experience baaking a lemo
on pie when she was in hhigh school. She liked leemon
pie because itt was easy to
o make and tasted
t
good.339 The style of this piecee is similar too
Soft
S Bavarian
n Crème because of its 6/8
6 time signnature and lyrrical singingg character. T
The
teexture, howeever, is differrent. In this piece the meelodic lines aappear in booth hands; a
39
Makiko Kinosshita, “A Mem
morable Lemon Pie.” in The C
Collection of Piiano Pieces by Composers foor
Children:
C
Desseert 1, ed. Japan
n Federation off Composers (T
Tokyo: KAWA
AI, 1996).
104
siingle hand can also play more than one
o melody ((Example 3..79). While tthe key is in A
minor,
m
the pieece ends witth a Picardy third
t
(an A m
major triad)..
Overall
O
Leveel of Difficulty: Easy
Example
E
3.79
9: Makiko Kinoshita,
K
A Memorable Lemon Pie, mm. 17-20
WakuWaku
W
[Exciting] (2000)
(
[CD 2-17]
2
The co
ompositionaal style of thiis piece is quuite similar tto Preludes 33, 5, and 7 inn 9
Preludes.
P
Forr example, mm.16-18
m
off this piece reesembles mm
m.16-17 in P
Prelude 7. Booth
have the samee rhythmic motives
m
in th
he right handd and paralleel fifths in thhe left (Exam
mples
80b). The fasst parallel six
xteenth-notee figuration aan octave apart in m.18 ccan
3.80a and 3.8
be seen in Preeludes 3 and
d 5. Hemiola rhythms in 6/8 time in m
m.25 is simiilar to m.21 iin
Prelude 5 (Ex
xamples 3.81
1a and 3.81b
b). Thus, thiss piece woulld be a good preparation
piece for porttions of 9 Prreludes.
Level
L
of Diffficulty: Interrmediate
105
Example
E
3.80
0a: Makiko Kinoshita,
K
Waku
W
Waku [[Exciting], m
mm. 16-18
Example
E
3.80
0b: Makiko Kinoshita,
K
9 Preludes, P
Prelude 7, mm
m. 16-18
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
Example
E
3.81
1a: Makiko Kinoshita, Waku
W
Waku [[Exciting], m
m. 25
Example
E
3.81
1b: Makiko Kinoshita, 9 Preludes, P
Prelude 5, m
m. 21
©
©2001 by ONGAK
KU NO TOMO SH
HA CORP., Tokyoo, Japan.
106
Uto
U Uto [Dozzing] (2003)) [CD 2-18]
Like the
t title of th
he piece, the music descrribes when oone is trying hard to stayy
aw
wake and no
ot fall asleep. To convey
y this sense oof drowsiness Kinoshita used
ch
hromaticism
m and dotted rhythms. In particular, tthe left handd’s chromaticcism seems tto
describe yawn
ning. Fingerrings should be carefullyy considered in order to pplay a long
ph
hrase of dottted rhythms with legato articulationss.
The use of dotted rhythms and
d chromaticiism is also fo
found in “Chheshire Cat” from
Alice
A
in Wond
derland (Exaamples 3.82 and 3.58). T
This piece annd Uto Uto sseem to havee
siimilar musiccal characters: in “Chesh
hire Cat” the music descrribes the fat,, lazy, weirdd cat
moving
m
slowlly and lazily
y.
Level
L
of Diffficulty: Easy
y
Example
E
3.82
2: Makiko Kinoshita,
K
Uto
U Uto, mm. 1-3
Moa
M (2006) [CD
[
2-19]
The moa
m is a fligh
htless bird th
hat used to livve in New Z
Zealand befoore it becamee
ex
xtinct a few hundreds yeears ago. Som
me moa reacched about 4 meters (12 ft) in heightt
when
w
they strretched theirr necks. They
y also had biig, strong leggs instead off wings for
107
ru
unning on th
he ground. Kinoshita’s
K
music
m
describbes both this running andd the huge m
moa
walking
w
with a magnificeent step.
orm is ternarry with contrrasting A annd B sectionss. The outer A sections aare in
The fo
A minor and the B section
n is in A maj
ajor; the A seection is slow
w while the B section is fast.
Material
M
in th
he A section also resemb
bles the Queeen’s theme ((march them
me) from Alicce in
Wonderland
W
(Examples
(
3.83a,
3
3.83b,, and 3.83c). Like “The Q
Queen’s Crooquet-Grounnd”
an
nd “The Triaal in a Mudd
dle,” Kinoshiita uses paraallel fifths inn the left hannd with a 4/44
meter.
m
Example
E
3.83
3a: Makiko Kinoshita,
K
Moa,
M mm. 1-88
108
Example
E
3.83
3b: Makiko Kinoshita,
K
Alice
A
in Wondderland, no.8, mm. 8-9
Example
E
3.83
3c: Makiko Kinoshita,
K
Alice in Wondderland, no.99, mm. 1-2
Towarrd the end off the first A section, therre is an acceelerando marrking in m.11.
At
A the same time the rhytthmic duratio
on in the left
ft hand intenssifies (Exam
mple 3.84). Inn the
B section, wh
hen the moa are running,, the tempo iincreases froom quarter-nnote at 120 beats
a minute (m.1
13) to quarteer-note at 138 beats a mi nute (m.17).. At the reprrised A sectioon
(m
m 40) the tem
mpo returns to its original majestic ppace.
Techn
nical focusess in this piece are legato chords and thirds. Whenn the tempo
ch
hanges it sho
ould be smooth instead of
o rushed or choppy. Beccause of the tempo channges,
passages in th
hirds, and ch
horal-texture writing, thiss piece is tecchnically andd stylisticallly
more
m
compliccated than Kinoshita’s
K
eaarlier pieces for childrenn.
Level
L
of Diffficulty: Interrmediate
109
Example
E
3.84
4: Makiko Kinoshita,
K
Moa,
M mm. 9-112
E.q.quagga
E
(2007)
(
[CD 2-20]
2
The quagga (Equu
us quagga qu
uagga) is ann extinct subspecies of thhe Plains zebbra.
mes from its distinctive
d
caall, which soounds like thhe word “quaagga.” The
Itts name com
qu
uaggas had stripes
s
on th
he front part of
o the body that faded ouut in the midddle. The reear
parts were bro
own. They used
u
to movee from one pplace to anoth
ther by making a long linne.
Successive eiighth-note acccompanimeent seems to portray this scene.
A paraallel thirds motif
m
with a grace note im
mitates the ccall of quaggga and rhythhmic
grroups somettimes go oveer the bar line (Example 3.85). The left hand hass ostinato
rh
hythms in co
onsistent eigh
hth notes. Th
hese patterns require thee performer tto stretch thee left
hand, which might
m
be triccky for a smaaller child’s hand. Sincee the right haand melody aalso
omprises eig
ghth notes, itt sounds bettter for the leeft hand to quuietly overlaap each of itss
co
eiighth notes. It will makee the left han
nd sound atm
mospheric ratther than com
mpeting withh the
melody.
m
dition to stretching the leeft hand for llegato playinng, there aree other technnical
In add
isssues that yo
ounger studen
nts might en
ncounter. Tw
wo melodies are played bby one hand
(E
Example 3.8
86). This piecce is useful to
t practice leegato playinng and thirdss. Especially a
ph
hrase in dou
uble thirds in
n m.29 mightt be tricky too play in lega
gato (Examplle 3.87).
110
Level
L
of Diffficulty: Interrmediate
Example
E
3.85
5: Makiko Kinoshita,
K
E.q
q.quagga, m
mm. 10-11
Example
E
3.86
6: Makiko Kinoshita,
K
E.q
q.quagga, m
mm. 19-22
Example
E
3.87
7: Makiko Kinoshita,
K
E.q
q.quagga, m
mm. 27-29
111
Summary
After composing several piano pieces for children, Kinoshita realized her
difficulty and frustration with composing simpler music for children. She felt restricted
because she could not use complicated chords or textures. Pieces must be short and
technically simple.40 In fact, she often spent a long time composing a children’s piece
because she found the limited compositional techniques quite constricting.
Yet, like her advanced works, Kinoshita’s works for children include
sophisticated harmonies and rhythms. They also draw heavily upon popular culture in
order to connect with younger students. For example, titles include animal names,
feelings, children’s favorite foods, and actions, which relate to children’s everyday life.
Each work also has a title and a short description of the piece by the composer. Many
scores are further accompanied by pictures.41 These titles, descriptions and pictures help
inspire children’s imaginations and make it easier for children to connect their emotions
to musical sound. These pieces will certainly prepare the young student for Kinoshita’s
more advanced repertoire, including Alice in Wonderland, 9 Preludes, and A Circuit of
Dreams.
40
Kinoshita, interview answers to author on February 1, 2011.
All the scores except a few that were obtained directly from Kinoshita have pictures and descriptions on
the score. Those pictures were added by Edition KAWAI in the process of publication. Kinoshita, as well
as other composers working with Edition KAWAI, did not have any say in the illustrations.
41
112
Table 3.8: Summary of Technical Focuses in Works for Children
Focuses\ nos.
Rhythmic
Lyricism
Staccato
Legato
Syncopations
Accents
Grace notes
Parallel
motion
Mirror
motion
Rolled
chords
Hemiola
Counterpoint
Shifting
meters
Passages in
thirds
Chords
Dotted
rhythm
Triplets
Chromatic
scales
Trills
1
X
2
X
3
X
X
X
X
4
X
5
6
X
X
X
X
X
X
7
X
8
9
X
X
X
X
X
X
X
X
X
X
X
X
X
X
10
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
1: Hop, hop
2: The Lion with the GI haircut
3: Song Sung by a Dog Looking at its own Tail
4: Children’s Song of Africa
5: Soft Bavarian Cream
X
6: A Memorable Lemon Pie
7: Waku Waku
8: Uto Uto
9: Moa
10: E q. quagga
X
113
Mother Goose
Kinoshita was commissioned by Edition KAWAI to write this work. The score is
included in a picture book, Mother Goose, which was published in 1991.42 The book
includes texts and pictures of sixteen songs and is illustrated by Naomi Tsuda (b. 1960).43
However, as Edition KAWAI commissioned Tsuda and Kinoshita separately, the artists
did not have a chance to work together on the project. This book is out-of-print today
and is only available at auction.
The work is a suite that includes fifteen arrangements of nursery songs for piano.
While the front cover has titles in both Japanese and English, the lyrics for the nursery
songs are in English. Kinoshita has revealed that arranging pre-existing songs is not her
favorite style of composition, but she has also acknowledged that arranging can be fun
and allows a certain amount of freedom.44 This might be the reason this suite is the only
arrangement among her piano compositions.
On the whole, the music remains relatively faithful to the original tunes.
Sometimes Kinoshita varies the tune by using counterpoint, adding new harmonies, or
providing an introduction. Most of the pieces are relatively easy; only the last three
pieces become more difficult.45 Most of the pieces are in a major key and sound playful,
but a few do focus on lyrical playing. Additional technical challenges include octave
playing, thick chords, big leaps, broken chord accompaniments in a wide range of the
keyboard, and fast sixteenth-note passages.
42
Makiko Kinoshita, Mother Goose (Tokyo: Edition KAWAI, 1991). The book was published along with a
mini-CD.
43
“There was an Old Woman” which does not have a score, is inserted between “Hey Diddle Diddle” and
“Who killed Cock Robin?”
44
Kinoshita, interview answers to author on February 1, 2011.
45
These difficulties arise primarily from the pieces’ complex texture.
114
According to Kinoshita, this set is for children to listen to rather than to play.46
Yet many pieces have simple, imaginative writing that is suitable for young students. The
following paragraphs briefly summarize the character of each piece and indicate the
primary pianistic techniques.
1. Three Blind Mice [CD 2-21]
This piece is faithful to the original tune and presents the melody in E major.
There are two contrasting types of figurations in this piece: blocked chords and a melody
in playful rhythms. The motive “three blind mice” is always played in blocked chords. In
mm. 13-16 the motive is played by a canon in both hands. This would be a fairly
accessible piece for a late beginner with a hand capable of playing a four-note chord with
an octave outline.
Level of Difficulty: Easy
2. Mrs. Bond [CD 2-22]
This piece is also faithful to the original tune. The key is C major, and the music
utilizes a small range and transparent texture through which to portray a character that is
at once flowing and innocent. Although syncopated rhythms in the left hand spice up the
homophonic texture, this piece is technically the easiest in the set. It is a delightful and
charming work that is quite suitable for a young pianist who has an octave stretch.
Level of Difficulty: Easy
46
Kinoshita, interview answers to author, February 1, 2011.
115
3. Old King Cole [CD 2-23]
This piece in F minor has an introduction in mm. 1-4, foreshadowing alterations
of the original tune. The melody is lyrical and accompanied by a counter melody. When
repeated a second time, the melody is slightly varied and played in a higher register. The
left hand has triadic, rolled chords, which contribute to an overall thicker texture in
comparison to the first two pieces. On the whole, “Old King Cole” is a good exercise in
lyricism. Aspects of contrapuntal writing present a challenge to the developing pianist.
Level of Difficulty: Intermediate
4. The Cuckoo [CD 2-24]
Like “Old King Cole,” “The Cuckoo” also has an introduction in mm. 1-4. This
simple, cheerful tune is accompanied by staccato octaves in the left hand. These octaves
may prove difficult for young students who have small hands. Echo effects in mm. 19-21
require contrasting dynamics between the hands, which involves the technique of
crossing arms.
Level of Difficulty: Easy
5. Pussy Cat [CD 2-25]
This piece presents the original tune in F major with a short introduction in mm.
1-2. Technical focuses include grace notes and chords with staccato articulations. The
left hand usually has a waltz-like accompaniment, but this changes in mm. 12-15: here
the left hand plays a cute, bouncy tune and the right hand plays chords off the beat. It is
116
the first time in this set that the left hand has a distinct melody. This piece will help
students learn to control a melody that alternates between the hands.
Level of Difficulty: Easy
6. On Christmas Day [CD 2-26]
This lyrical piece is in A minor but ends with a Picardy third. Kinoshita
introduces the original tune, but weaves in new counter melodies, creating a more
complex contrapuntal texture. The accompaniment in the left hand along with rolled
chords in the right hand require a larger, more flexible hand. This piece provides students
with the opportunity to improve their smooth and expressive playing. The melody in
parallel thirds also recalls selections from Kinoshita’s original compositions Alice in
Wonderland and E.q.quagga.
Level of Difficulty: Intermediate
7. Jack and Jill [CD 2-27]
This is a very playful, short piece. Kinoshita preserves the original tune in C
major. Technical focuses include grace notes, trills, and swing rhythms. The trickiest
section is in mm. 9-12, as the left hand crosses over the right hand. Here it is easy for a
young student to miss notes: it is as if the pianist becomes like Jack trying to balance his
bucket of water. Try not to spill your notes!
Level of Difficulty: Easy
117
8. Goosey, Goosey Gander [CD 2-28]
This is also a playful piece. The original tune is usually in the right hand,
accompanied by a rhythmic left hand. Like “Pussy Cat”, the left hand takes the melody in
mm. 13-16. A short counter melody in the left hand follows in mm. 17-18. Technical
focuses include grace notes and chords with staccato articulations. Accents on weaker
beats and rests on downbeats add a surprising punch, musically depicting the comical
motion of a gander walking, waggling, and gaggling through the grass.
Level of Difficulty: Intermediate
9. Rock-a-bye, Baby [CD 2-29]
In this piece lyrical melodies are taken equally by both hands. Occasionally, two
contrasting melodies are also played by one hand. In mm. 18-20 the melody is played in
octaves. Smooth arm motion is required to play long, melodic phrases seamlessly.
Successive rolled chords in the right hand in mm.13-18 should be played smoothly, and
require careful attention in regard to arm gesture as well. When playing these chords, the
longer phrase and forward direction of the musical gesture is of paramount importance.
Level of Difficulty: Intermediate
10. Humpty Dumpty [CD 2-30]
This piece has an extensive introduction in mm. 1-8, which includes a canon
between the hands. Kinoshita is faithful to the original tune “Humpty Dumpty,” but
singing this tune before playing the piece may help performers shape the end of the
phrase more naturally. It is easy to cut off the end of a phrase if one does not know the
118
song well. Like “Jack and Jill,” this piece also uses swing rhythms and its charming
ending is similar to the ending of “Cheshire Cat” in Alice in Wonderland.
Level of Difficulty: Intermediate
11. Saint Paul’s Steeple [CD 2-31]
In this piece the left hand imitates a bell sound of a cathedral by octave playing.
The right hand plays a melody in successive sixths and first inversion chords throughout
the piece. The music should sound magnificent. Make sure arm gestures are smooth and
try to create long phrases as in “Rock-a-bye, Baby.” The notes are not hard to learn and
can provide a good vehicle for playing with full arm weight in the keys. It may be
technically challenging for younger students to control arm weight efficiently.
Level of Difficulty: Intermediate
12. Hey Diddle Diddle [CD 2-32]
Like “Humpty Dumpty,” the introduction of “Hey Diddle Diddle” includes a
canon (mm. 1-4). The playful tune is supported by rhythmic accompaniment. The left
hand also takes a turn with the melody in mm. 16-22. Repetitive notes with staccato
articulations may prove tricky for the less advanced pianist, but they help create the
overall mood for this happy and charming work.
Level of Difficulty: Intermediate
119
13. Who Killed Cock Robin? [CD 2-33]
This piece is more complex and double the length compared to earlier works in
this set. Chorale-like textures and counterpoint are used throughout the piece, presenting
the tune in various guises and patterns. Both the melody and counter melodies are often
played simultaneously, and the performer faces challenges in balancing the texture.
Emphasizing different voices can provide interesting contrasts within a performance.
Other technical focuses include octave playing, thick chords, and large leaps.
Level of Difficulty: Intermediate
14. London Bridge [CD 2-34]
The opening has a four-voice canon which is tricky because of its combination of
duple and dotted rhythmic patterns. While the tune of this piece is straight forward,
Kinoshita’s exploration of key changes and rhythms add much to this well known tune.
Four sections are indicated by different key areas. The piece begins in D major,
modulates to E-flat major and E major, and then ends in B-flat major. In the first section
(D major) the music is playful with staccato articulations in a chorale texture. The second
section (E-flat major) has a lyrical quality. The melody is played in the middle voice in
mm. 17-20. The accompaniment in this section is in a broken chord accompaniment and
uses a wide range of the keyboard. The third section (E major) focuses on syncopated
rhythms. Here the original tune is rhythmically varied and melodically reshaped with
octave transfers moving the theme through different layers of the texture. The final
section (B-flat major) starts lyrically in a slower, meno mosso tempo. Here the left hand
plays bell-like chords in which the tenor voice forms a counter melody. The music
120
becomes more exciting with an a tempo marking and fortissimo dynamic. Technical
challenges include octave playing, thick chords, and large leaps.
Level of Difficulty: Late intermediate
15. Twinkle, Twinkle Little Star [CD 2-35]
This last piece of the set is the most difficult. While Kinoshita faithfully uses the tune
of the original song, she couches it amongst many technical challenges. Twinkling stars
are depicted by trills in a high register. Tremolos and broken-chord accompaniments are
used in a wide range of the keyboard. Fast sixteenth-note passages are used throughout
the piece, often under a melody in octaves or thick chords. The closing section modulates
often and ends in C major, the dominant of the home key of F major. The last chord
featuring a tritone (F and B) is exotic and unresolved, and floats the figuration into the
upper register with a diminuendo to pianissimo. This brings the whole set to an ethereal
conclusion.
Level of Difficulty: Early advanced
Summary
While the set is technically less demanding than Alice in Wonderland, it still
exploits the instrument’s potential for color. Kinoshita’s imaginative settings of these
well known tunes make this collection an attractive one for the developing pianist. While
young students will especially enjoy practicing the easier pieces, teachers must be careful
that a student’s hand will be able to reach all of the larger stretches comfortably. The last
121
three pieces are more complex musically and technically, and therefore should be
reserved for more advanced pianists.
Mother Goose, Overall Level of Difficulty: Easy – Early Advanced
Table 3.9: Summary of Technical Focuses in Mother Goose
Focuses\ nos.
Rhythmic
Lyricism
Staccato
Legato
Syncopations
Accents
Grace notes
Parallel
motion
Mirror
motion
Rolled chords
Hemiola
Counterpoint
Passages in
thirds
Chords
Dotted
rhythm
Chromatic
scales
Trills
Octaves
Cross hands
Tremolos
1
X
2
3
4
5
X
X
X
X
X
6
7
X
8
X
X
X
X
X
10
X
11
12
X
X
X
X
X
X
9
X
X
X
X
X
X
X
13
14
X
X
X
X
X
X
X
X
X
X
X
15
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
CHAPTER 4
CONCLUDING REMARKS
A Summary of Kinoshita’s Piano Music
Evident from Makiko Kinoshita’s piano works is her unique musical language,
which she creates by mixing elements of traditional western classical music and popular
genres, including pop, jazz, and rock. This novel combination of sounds, plus her
personal trademarks (extended tremolos, long trills, gliding fifths and cluster chords) and
a playful sense of humor, have become characteristics marking her music as new and
innovative.
As we can infer by looking at all of Kinoshita’s solo piano works, Kinoshita
composes in three distinct styles: the first style highlights a lyrical melody supported by
colorful harmonies; the second features a colorful soundscape without a clear melody;
and the third is rhythmically marked with an emphasis on syncopation and accents.1
Harmonic progressions in Kinoshita’s music usually function as color changes,
underscoring her concern with sound. She chooses harmonies that she wants to hear as
opposed to harmonies that follow a functional pattern.2 The performer can also enhance
Kinoshita’s colors by exploring different ways to use the pedal.
1
Kinoshita revealed that while her bold rhythms in her piano music resemble Prokofiev and Stravinsky,
they come more from her love of percussion ensembles. Kinoshita, interview answers to author on
February 1, 2011.
2
Kinoshita, interview answers to author on February 1, 2011.
123 Kinoshita’s music lacks detailed notations, such as pedaling, and this allows the
performer freedom in pedaling and phrasing. Each performer can create an individual
sound and each performance becomes unique. Kinoshita’s solo piano works also lack any
finger number indications and this can present problems for performers. Suggested
fingerings by the composer or an experienced pianist would be most helpful for young
students as they learn music. If fingerings are provided, students do not have to spend a
long time deciding which fingerings will result in better phrasing. Fingerings can also
help students avoid technical problems that might have occurred otherwise. Aware of
these issues and heeding the advice of her fellow musicians, Kinoshita does plan to
include suggested fingerings in her future compositions.
Kinoshita’s music tends to fit the pianist’s hands well. This is largely due to her
own experience as a pianist: because of her ability to play the piano, she has an intimate
knowledge of the instrument and understands fundamental piano techniques. For example,
her piano music does not include blocked chords bigger than a ninth. This should not
prove a problem for most pianists.3 Kinoshita also mentioned in her interviews with me
that her frequent use of gliding fifths and parallel thirds is due to her own comfort playing
these intervals. In fact, these intervals are taught early to beginning piano students and
should come quite naturally to skilled pianists.
We should also consider Kinoshita’s music in light of her Japanese heritage.
Many people might expect “traditional Japanese sounds” from a Japanese composer.4
3
My hands are considered “small” in comparison with many of my piano colleagues, yet I found
Kinoshita’s blocked ninth chords relatively easy to reach.
4
“Traditional Japanese sound” includes the sound created by Japanese traditional instruments, such as
syakuhachi, syamisen, koto, and mokugyo [wooden fish]. They use pentatonic scales, such as D, E, G, A,
and B.
124 However, as Kinoshita grew from a child into an adult, Japan began to embrace Western
music more openly. Japanese people began to pair simple Japanese lyrics with Western
melodies and started teaching Western music more regularly in schools.5 Eventually
Western-influenced songs became a new kind of folk music for Japan, signaling a
blending of cultures. While some composers have tried to reconnect with their Japanese
identity and heritage by using traditional instruments and music, Kinoshita aims to keep
her compositions “borderless.” By mixing old and new traditions together, she gives her
music a unique character that is defined by its multiplicity of stylistic genres.
My Final Impressions
Because I had never played Kinoshita’s music before beginning this project, I did
not know what to expect. Once I became familiar with Kinoshita’s musical language,
however, the pieces came together quite quickly. I found her music imaginative and full
of exciting sound possibilities.6 I also discovered that the lack of detailed notations can be
both an advantage and disadvantage for the pianist. For example, a lack of detailed
notation would make the pianist think of how the music should make sense, whereas
overly detailed notation will give the answer what to do, and the pianist would not have
to be imaginative. If the pianist uses his or her imagination to draw out many of the
5
A shift towards Western music may have resulted from the unsuitability of traditional Japanese songs for
children. The lyrics of many traditional Japanese songs address the subtleties of love between a man and
woman. Since the Japanese believed that talking about love in front of children was taboo, they had to
create alternative ways to teach music to children. Thus new lyrics that were suitable for children were
written and paired with new Western tunes.
6
Pianists working with Kinoshita’s music have many opportunities to create subtle nuances: slight changes
of phrasing, tempo, pedaling, and dynamics can be very effective.
125 gestures implied by but not explicitly written on the score, Kinoshita’s music becomes a
living, breathing work well worth exploring.
As I have shown through this study, Kinoshita provides a myriad of musical
sounds and techniques in her solo piano works to engage and challenge piano students of
all ages and levels. My hope is that by providing these recordings with the performance
guide, I have created a resource for teachers and pianists that will stimulate interest in
Kinoshita’s music. I strongly believe we must continue exploring new music by living
composers and we must embrace the music of those that walk among us, for composers
like Kinoshita have very much to offer.
126 APPENDIX A
A List of Kinoshita’s Musical Works [Not Including Piano Solo]
Pf = Piano
Sax = Saxophone
Orch = Orchestra
Perc = Percussion
Timp = Timpani
Vc = Cello
Vn = Violin
Vib = Vibraphone
Hp = Harp
Org = Pipe organ
Cl = Clarinet
S = Soprano
A = Alto
T = Tenor
B = Baritone
Brass-ens = Brass ensemble
Songs
Year
2011
2010
2009
2008
2007
2005
2000
1999
Title (pronunciation) [English
translation]
花のかず (Hanano Kazu)
幼年(Yo-nen) [Childhood]
竹とんぼに(Take tonbo ni)
サッカーによせて
(Soccer ni yosete)
[For Soccer]
鴎 (Kamome) [Seagull]
動物詩集
(Doubutsu Shisyu)
悲しみの枝に咲く夢
(Kanashimi no edani saku
yume)
たんぽぽ (Tanpopo)
[Dandelion]
夢みたものは
(Yume mita monowa)
古風な月(Kohu na Tsuki)
父の唄 (Chichi no Uta)
なにかが ほら
(Nanikaga hora)
Vocalise
C.ロセッティの４つの歌
(Four Songs by C. Rossetti)
へびとりのうた
Number of
pieces
included
9
Formation
Vocal, Pf
Publisher
Ongakuno tomo sha
Vocal, Pf
Vocal, Pf
Vocal, Pf
Edition KAWAI
Ongakuno tomo sha
1
1
1
Vocal, Pf
Vocal, Pf
Edition KAWAI
Edition KAWAI
1
7
Vocal, Pf
Edition KAWAI
5
Vocal, Pf
Ongakuno tomo sha
1
Vocal, Pf
Edition KAWAI
1
Vocal, Pf
Baritone, Alto
sax, Pf
Vocal, Pf
Edition KAWAI
Edition KAWAI
5
3
Ongakuno tomo sha
1
Soprano, Hp,
Vc, Vib
Vocal, Pf
1
Edition KAWAI
4
Vocal, Pf
Edition KAWAI
4
127 1999
1998
1997
1996
1995
1994
1986
1978
(Hebitori no Uta)
三好達治の詩による２つの
歌 (Miyoshi Tatsuji ni yoru
hutatsu no Uta)
抒情小曲集
(Jyojyo shouhin kyokusyu)
黒田三郎の詩による三つの
歌 (Kuroda Saburo no shi
niyoru mittsu no Uta)
ひこうき(Hiko-ki) [Airplane]
ゆりいす(Yuri isu)
[Rocking Chair]
歌を歌って(Uta wo utatte)
ねこぜんまい
(Neko zenmai)
夕顔 (Yu-gao)
[Moonflower]
ほんとにきれい
(Hontoni kirei)
かぜとかざぐるま
(Kaze to Kazaguruma)
雲の窓(Kumo no Mado)
うぐいす(Uguisu)
[Japanese bush warbler]
おもいで (Omoide)
[Memories]
愛する歌 (Aisuru Uta) [Love
Songs]
秋の瞳(Aki no Hitomi)
六つの浪漫
(Muttsu no Roman)
[6 Romantic Pieces]
涅槃 (revised)
(Nehan) [Nirvana]
晩夏(Banka)
[Late Summer]
かくれんぼ(Kakurenbo)
[Hide and Seek]
群馬県立高崎東高等学校校
歌[Gunmakenritsu Takasaki
Higashi High School Song]
涅槃(Nehan) [Nirvana]
Vocal, Pf
Edition KAWAI
2
Vocal, Pf
Edition KAWAI
1
Baritone, Pf
Edition KAWAI
3
Vocal, Pf
Vocal, Pf
Edition KAWAI
Edition KAWAI
1
1
Vocal, Pf
Vocal, Pf
Edition KAWAI
Edition KAWAI
1
1
Vocal, Pf
Edition KAWAI
1
Vocal, Pf
Edition KAWAI
1
Vocal, Pf
Edition KAWAI
1
Vocal, Pf
Vocal, Pf
Edition KAWAI
Edition KAWAI
1
1
Vocal, Pf
Edition KAWAI
1
Vocal, Pf
Ongakuno tomo sha
5
Vocal, Pf
Vocal, Pf
Edition KAWAI
Edition KAWAI
8
6
Vocal, Pf
Edition KAWAI
1
Vocal, Pf
Ongakuno tomo sha
7
Folk song
Fukuonkan shoten
1
Vocal, Pf
Soprano, Pf
1
Edition KAWAI
1
128 Choral music accompanied by orchestra
2011
2010
2008
2007
光はここに
(Hikari wa kokoni)
[The Light is Here]
邪宗門秘曲
(Jyashu-mon Hikyoku)
たいようオルガン
(Taiyo Organ)
鴎(Kamome) [Seagull]
４つの舞曲(Vocalise)
[Four Dances]
光はここに
(Hikari wa kokoni)
[The Light is Here]
春に(Haru ni) [In Spring]
いま！(Ima !) [Now !]
2005
2004
2002
2001
1999
1993
原体剣舞連
(Gentai Kenburen)
鴎,うみ [Seagull, Sea]
Christmas Carol Medley
(revised)
原体剣舞連
(Gentai Kenburen)
BLUE
The door into summer
虚無の未来へ
(Kyomu no Mirai e)
邪宗門秘曲
(Jyashu-mon Hikyoku)
四万十川 (Shimanto-gawa)
[Shimanto River]
春と修羅 (Haru to Syura)
SATB, Orch
Edition KAWAI
6
SATB, Orch
Edition KAWAI
1
SATB, Orch
1
SATB, Orch
SST, Orch,
Pf
SATB, Org
Edition KAWAI
Kyouiku Geijyutu sha
1
4
Edition KAWAI
6
SATB,
Wind-Orch
SSA, SATB,
Wind-Orch
SATB, Orch
Ongakuno tomo sha
1
Edition KAWAI
1
1
SATB, Org
SATB,
Brass-ens,
Org, Perc.
SATB, Orch
2
1
1
SSAA, Perc.
SSA, Perc.
SATB, Orch
Mother Earth
Mother Earth
3
1
4
SATB, Orch
Edition KAWAI
1
SATB, Orch
Edition KAWAI
5
SATB,
Brass-ens
2
Orch
1
Orchestral works
2010
2008
2007
2006
呼吸する大地
(Kokyu suru Daichi)
CYBER TRIP
GOTHIC (revised)
GOTHIC
Wind-Orch
Wind-Orch
Wind-Orch,
Perc. 1-3
Tokyo Hassuru copy
Buren sha
1
1
1
129 2006
Pulsation
1996
シンフォニエッタ
(Sinfonietta)
消えていくオブジェ
(Kieteiku Objet)
夜の淵 (Yoru no Huchi)
Abyss of Night
Sinfonia
1991
1989
1986
1982
1981
1979
1978
1977
Aura for Orchestra
Fantasy 2
序奏とアレグロ
Introduction and Allegro
壺天
(Koten)
管弦楽のための一章
(Kangengaku no tame no
Isshou)
Fantasy
Wind-Orch,
Timp. Perc. 1-3
Str-Orch
Hihon suiso-gaku
renmei
Ongakuno tomo sha
1
3
Orch
1
Orch
1
Wind-Orch
Orch
Orch
Wind-Orch
YAMAHA ongaku
shinkokai
Zen nihon
suisougaku renmei
1
1
1
1
Orch
1
Orch
1
Orch
1
Choral music
2010
2009
2008
2007
自然と愛と孤独と
(Shizen to Ai to Kodoku to)
The Ark
Blue
ざりがに(Zarigani)
[Crayfish]
いのちの木を植える
(Inochi no Ki wo ueru)
さびしいよる (Sabishii
Yoru) [Lonely Night]
お早うの朝 (Ohayo no Asa)
雨[Rain]
あいたくて(Aitakute)
光る刻(Hikaru koku)
あさっておいで
(Assatte Oide)
どんどんほったら
(Don don hottara)
コップのうた
(Koppu no Uta)
にじ色の魚
(Niji iro no Sakana)
SSA, Pf
Edition KAWAI
1
TTB, Pf
SATB, Pf
SA, Pf
Edition KAWAI
Edition KAWAI
Ongakuno tomo sha
5
1
1
SATB, Pf
Ongakuno tomo sha
4
SA, Pf
Ongakuno tomo sha
1
SATB, Pf
SSA, Pf
SSA, Pf
TTB, Pf
SA, Pf
Edition KAWAI
Ongakuno tomo sha
Ongakuno tomo sha
Edition KAWAI
Ongakuno tomo sha
1
1
1
4
1
SA, TB, Pf
Ongakuno tomo sha
1
SA, TB, Of
Ongakuno tomo sha
1
SATB
Editio KAWAI
1
130 2006
2005
2004
金沢市立杜の里小学校校歌
(Kanazawa shiritsu
Morisnosato Elementary
School Song )
ある日のたび
(Aruhi no Tabi)
朝の頌歌
(Asa no Homeuta)
曇り日なら
(Kumori-bi nara)
足おと(Ashi-oto)
悲しみの枝に咲く夢
(Kanashimi no Eda ni saku
Yume)
[A Dream Hung on the Lonely
Tree]
カゼクサ(Kazekusa)
わたしはカメレオン
[I am Chameleon]
竹とんぼに
(Take-tonbo ni)
花のかず
(Hana no Kazu)
クルミ
[Walnut]
鴎[Seagull]
きりん(Kirin)
[Giraffe]
夢のなかの空
(Yume no naka no Sora)
ゆりいす(Yuri-isu)
[Rocking Chair]
まいにち〈おはつ〉
Everyday “Ohatsu”
はじまり
(Hajimari)
湖上(Kojyo)
私は月にはいかないだろう
(Watachi wa Tsuki niwa
ikanaidaro)
[I’ll never go to the Moon]
夢みたものは
(Yume mita mono wa)
旅の歌(Tabi no Uta)
生きぬくいのち
(Ikinuku Inochi)
Vocal, Pf
1
SA, Pf
Ongakuno tomo sha
1
TTBB, Pf
Ongakuno tomo sha
3
SA, Pf
Ongakuno tomo sha
1
SA, Pf
SA, Pf
Ongakuno tomo sha
Edition KAWAI
1
5
SA, Pf
TTBB
Ongakuno tomo sha
Edition KAWAI
1
6
SA, Pf
Ongakuno tomo sha
1
SA, Pf
Ongakuno tomo sha
1
SA, Pf
Ongakuno tomo sha
1
SATB
SA, Pf
Edition KAWAI
Ongakuno tomo sha
1
1
SA, Pf
Ongakuno tomo sha
1
SA, Pf
Ongakuno tomo sha
1
SA, TB, Pf
Hihon hoso syuppan
kyokai
Ongakuno tomo sha
1
SA, Pf
SATB
SAT, Pf
TTBB
SATB, Pf
SATB, Pf,
Children’s choir
Kyouiku Geijyutsu
sha
Edition KAWAI
1
1
1
1
1
1
131 ネロ-愛された小さな犬に
Nero: For a well-loved little
Dog
さびしいカシの木(Sabishi
Kashi no Ki)
石ころ
(Ishikoro)
あひるとカンガルー
[The Duck and the Kangaroo]
ロマンチストの豚
[Romantic Pig]
おんがく
[Music]
サッカーによせて
[For Soccer]
いっしょに
(Issho ni)
地平線のかなたへ
[Beyond the Horizon]
2003
2002
2001
2000
1999
いつかどこかで
(Itsuka dokokade)
さびしいカシの木
(Sabishi Kashi no Ki)
サッカーによせて,ロマンチ
ストの豚,さびしいカシの木
いつかしら野に立つて
(Itsukashira Noni tatte)
真夜中のモノローグ
(Mayonaka no Monologue)
ひとつめこぞう
[The One-Eyed Goblin]
なぎさの地球
(Nagisa no Chikyu)
幻影
[The Illusion]
ロマンチストの豚
[Romantic Pig]
春二題
[Two Spring Songs]
そのひとがうたうとき
(Sonohitoga utau toki)
カレハ
(Kareha)
光と風をつれて
SSAA
Ongakuno tomo sha
1
SSA, TTB, Pf
Ongakuno tomo sha
1
ST, Pf
1
SSA
Kyouiku Geijyutsu
sha
Kyouiku Geijyutsu
sha
Ongakuno tomo sha
SSAA
Ongakuno tomo sha
1
SSA
Ongakuno tomo sha
1
SSA
Ongakuno tomo sha
1
TTBB, Pf
Ongakuno tomo sha
5
SATB, Pf
Edition KAWAI
1
SSA, Pf
Ongakuno tomo sha
1
SATB
Ongakuno tomo sha
3
SA/TB, Pf
1
1
TB
1
SATB, Pf
1
Children’s choir
Ongakuno tomo sha
3
SATB/SSAA/TT
BB, Pf
SSAA, Pf
NHK
1
Edition KAWAI
4
TTBB
Ongakuno tomo sha
1
SSA
Ongakuno tomo sha
2
SATB, Pf
1
SATB
Kyouiku Geijyutsu
sha
Ongakuno tomo sha
SATB, Pf
Ongakuno tomo sha
5
1
132 1998
1997
1996
1995
(Hikari to Kaze wo tsurete)
そのひとがうたうとき
(Sono Hito ga utau toki)
来てみてごらん この街へ
(Kitemitegoran kono Machi e)
ふくろうめがね
(Fukuro Megane)
C.ロセッティの４つの歌
[Four Songs by C. Rossetti]
ある日くまは
(Aruhi Kuma wa)
ほたるたんじょう
(Hotaru Tanjyo)
あざらしなかま
(Azarashi Nakama)
グリンピースのうた
[A Song of Greenpeace]
月の角笛
Lyrical Songs “The Moon’s
Horn”
仏の見たる幻想の世界
[The Visionary World Buddha
Saw]
ELEGIA
めばえ
(Mebae)
うたをうたうとき
(Uta wo utautoki)
５つの祈り
(Itsutsu no Inori)
地平線のかなたへ
[Beyond the Horizon]
大伴家持の三つの歌
Three Songs of Oobankomochi
秋のまんなかで
(Aki no mannakade)
トムトムおじさんの綿菓子
屋
(Tomutomu Ojisan no
Watagashiya)
愛する歌
(Aisuru Uta)
曇り日なら
(Kumoribi nara)
どうして いつも
SAT, Pf
Kyouiku Geijyutsu
sha
SA, Pf
1
1
TTB/SSA
Ongakuno tomo sha
4
SA, Pf
Edition KAWAI
4
TTB/SSA
Ongakuno tomo sha
1
TTB/SSA
Ongakuno tomo sha
1
TTB/SSA
Ongakuno tomo sha
1
Children’s choir
Ongakuno tomo sha
5
SA, Pf
Edition KAWAI
12
Two SATBs
Ongakuno tomo sha
1
SATB
SATB/TTBB/SS
AA
SATB/SSA
5
1
SSA
Edition KAWAI
Nihon hoso syuppan
kyokai
JCDA (Japan Choral
Directors Association)
Ongakuno tomo sha
SSA, Pf
Ongakuno tomo sha
5
SATB, Pf
Edition KAWAI
3
SAT, Pf
Ongakuno tomo sha
1
SSA/TTB, Pf
Kyouiku Geijyutsu
sha
1
SA/TB, Pf
Ongakuno tomo sha
10
ST, Pf
Ongakuno tomo sha
1
SATB
Ongakuno tomo sha
1
1
5
133 1994
1993
1992
1991
(Doushite itsumo)
うたよ！
(Utayo !)
犬が自分のしっぽをみて歌
う歌
A Song Sung by a Dog
Looking at its own Tail
絵の中の季節
Seasons Found in Pictures
恋のない日
(Koi no nai hi)
足おと
(Ashi oto)
ユレル
(Ureru)
海と涙と私と
(Umi to Nmida to Watashi to)
わたしは風
(Watashi wa kaze)
オンディーヌ
Ondine
夢みたものは
(Yume mita mono wa)
三つの不思議な物語
Three mysterious Stories
雪の街
(Yuki no Machi)
地平線のかなたへ
[Beyond the Horizon]
ア・カペラ組曲
[A Capella Suite]
暁と夕の詩
(Akatsuki to Yu no Uta)
二十億光年の孤独
(Nijyuokukonen no Kodoku)
さびしいカシの木
(Sabishii Kashi no Ki)
春に
(Haru ni)
もえる緑をこころに
(Moeru Midori wo kokoro ni)
真夜中
(Mayonaka)
卒業式
(Sotsugyoshiki)
SATB, Pf
Ongakuno tomo sha
5
TB/SA, Pf
Ongakuno tomo sha
1
SSA
Edition KAWAI
3
TTBB
Ongakuno tomo sha
6
ST
Ongakuno tomo sha
1
SA/TB, Pf
Ongakuno tomo sha
1
SA/TB, Pf
Ongakuno tomo sha
1
SSA, Pf
Edition KAWAI
4
SSAA, Pf
Edition KAWAI
1
SATB, Pf
Edition KAWAI
6
SATB, Pf
Edition KAWAI
3
SA/ST, Pf
Ongakuno tomo sha
1
SATB, Pf
Ongakuno tomo sha
5
SSA
1
SSA, Pf
Edition KAWAI
4
SAT, Pf
Ongakuno tomo sha
1
ST, Pf
Ongakuno tomo sha
1
SATB, Pf
Ongakuno tomo sha
1
SAT/SSA, Pf
1
TTBB, Pf
Nihon hoso syuppan
kyokai
Edition KAWAI
SAT, Pf
Ongakuno tomo sha
1
3
134 1990
1989
1988
1987
春の予感
(Haruno yokan)
オンディーヌ
Ondine
あわていきもののうた
(Awateikimono no Uta)
さびしいカシの木
(Sabishii Kashi no Ki)
誰かがちいさなベルをおす
(Darekaga chiisana Beru wo
osu)
きんいろの太陽がもえる朝
に
(Kin-iro no Taiyo ga moeru
Asa ni)
ひばり
(Hibari)
ネロ-愛された小さな犬に
Nero: For a well-loved little
Dog
ファンタジア
Fantasia
サッカーによせて
For Soccer
春に
In Spring
ロマンチストの豚
Romantic Pig
うみ
(Umi)
サッカーによせて
For Soccer
ほのかにひとつ
(Honoka ni Hitotsu)
邪宗門秘曲
(Jyashumon Hikyoku)
地球の仲間
(Chikyu no Nakama)
サッカーによせて
For Soccer
こまどりをころしたのだ
れ？
Who Killed Cock Robin?
方舟
The Ark
Enfance Finie
SATB
Edition KAWAI
1
SATB, Pf
Edition KAWAI
1
SSA/TTB, Pf
Edition KAWAI
5
SA/TB, Pf
Ongakuno tomo sha
1
SA/TB, Pf
Ongakuno tomo sha
1
SA/TB, Pf
Ongakuno tomo sha
1
SA/TB, Pf
Ongakuno tomo sha
1
SATB, Pf
Ongakuno tomo sha
1
SSA, Pf
Edition KAWAI
1
SSA, Pf
Ongakuno tomo sha
1
SAT, Pf
Ongakuno tomo sha
1
SA/TB, Pf
Ongakuno tomo sha
1
SSA/TTB
Ongakuno tomo sha
1
SAT, Pf
Ongakuno tomo sha
1
SATB, Pf
Edition KAWAI
1
SATB, Pf
Edition KAWAI
1
SA/TB, Pf
Ongakuno tomo sha
1
TTBB, Pf
Ongakuno tomo sha
1
SSA, Pf
Edition KAWAI
8
TTBB, Pf
Edition KAWAI
4
TTBB, Pf
Edition KAWAI
4
135 1986
1985
1984
1983
1980
光る刻
(Hikaru koku)
ティオの夜の旅
Tio’s Night Trip
こまどりをころしたのだ
れ？
Who Killed Cock Robin?
夢のかたち
(Yume no katachi)
むらさきの
(Murasaki no)
風が風を
(Kazega Kazewo)
ティオの夜の旅
Tio’s Night Trip
方舟
The Ark
SATB, Pf
Edition KAWAI
4
TTBB, Pf
Edition KAWAI
5
SATB, Pf
Edition KAWAI
8
SATB, Pf
Edition KAWAI
5
SSA, Pf
Edition KAWAI
1
SSA, Pf
Edition KAWAI
1
SATB, Pf
Edition KAWAI
5
SATB, Pf
Edition KAWAI
4
Chamber Music
2010
2008
2007
2005
2004
2000
1977
1976
1976
空中庭園
(Kuchu Teien)
打楽器コンチェルト
Percussion Concerto
夜はすべてのガラスであ
る
(Yoru wa subeteno Garasu
de aru)
ふるえる月 (revised)
The Trembling Moon
4 viola da ganbas
2
Perc.solo,
Perc.ens.1-4
Flute, Perc.
Ongakuno tomo
sha
Perc. 1-4
Nihon
sakkyokuka
kyogikai
Ongakuno tomo
sha
Nihon
sakkyokuka
kyogikai
Ongakuno tomo
sha
ねじれていく風景
Twisting Landscapes
ふるえる月
The Trembling Moon
Cl, Vn, Pf
アンダンテとカプリッチ
ョ
Andante and Capriccio
雨
(Ame) [Rain]
サクソフォン･ソナタ
Saxophone Sonata
Sax-quartet
Perc. 1-4
3
1
1
3
1
1
Mandolin-orch
1
Sax, Pf
1
136 Piano duet
2010
2005
2002
2002
2001
1999
迷宮のピアノ
Labyrinthine Piano
星の砂
(Hoshi no Suna)
やわらかな雨
Gentle Rain
日曜市場
Sunday Market
一羽のかもめ
Sea Gull
Romantic Concert
Four-hand, Pf
Edition KAWAI
5
Four-hand, Pf
Edition KAWAI
1
Four-hand, Pf
Edition KAWAI
10
Four-hand, Pf
Edition KAWAI
1
Four-hand, Pf
Edition KAWAI
1
Four-hand, Pf
Soshisha Creative
1
Opera
2005
2003
Alice in Wonderland
(revised)
Alice in Wonderland
5S, 2A, 3T, 3B, Bass,
Mixed-choir, Orch
5S, 2A, 3T, 3B, Bass,
Mixed-choir, Orch
Ongakuno tomo sha
Ongakuno tomo sha
137 APPENDIX B
Piano Solo Works with Difficulty Level
2007
2007
2006
2004
2003
2001
A Circuit of Dreams, I, II (revised)
I
II
E q. quagga
Moa
The Lion with the GI haircut (republished)
Uto Uto [Dozing]
9 Preludes
Prelude 1
Prelude 2
Prelude 3
Prelude 4
Prelude 5
Prelude 6
Prelude 7
Prelude 8
Prelude 9
2000
1995
1994
1993
Waku Waku [Exciting]
A Memorable Lemon Pie
Soft Bavarian Cream
Alice in Wonderland
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
Ongakuno tomo
sha
Edition KAWAI
Edition KAWAI
Edition KAWAI
Edition KAWAI
1.
2.
3.
4.
5.
6.
7.
8.
9.
Alice in the Golden Afternoon
Down the Rabbit-Hole
Pool of Tears
The Dodo and a Strange Race
Advice from a Caterpillar
Cheshire Cat
A Mad Tea-Party Never Ends
The Queen’s Croquet-Ground
The Trial in a Muddle
10. After the Dream
1991
1990
1991
Children’s Song of Africa
Song Sung by a Dog Looking at its own Tail
Mother Goose
1.
2.
3.
4.
5.
6.
Three Blind Mice
Mrs. Bond
Old King Cole
The Cuckoo
Pussy Cat
On Christmas Day
Difficult
Difficult
Intermediate
Intermediate
Easy
Easy
Late intermediate
Medium difficult
Difficult
Late intermediate
Difficult
Medium difficult
Difficult
Difficult
Difficult
Easy
Easy
Easy
Easy
Intermediate
Intermediate
Late intermediate
Late intermediate
Intermediate
Medium Difficult
Medium Difficult
Medium Difficult
Intermediate
Edition KAWAI
Edition KAWAI
Edition KAWAI
Easy
Easy
Easy
Easy
Intermediate
Easy
Easy
Intermediate
138 7.
8.
9.
10.
11.
12.
13.
14.
Jack and Jill
Goosey, Goosey Gander
Rock-a-bye, Baby
Humpty Dumpty
Saint Paul’s Steeple
Hey Diddle Diddle
Who killed Cock Robin?
London Bridge
15. Twinkle, Twinkle Little Star
1989
1988
1986
The Lion with the GI haircut
Hop, hop
Circuit of Dreams, I, II, III
1979
Fantasy
Easy
Intermediate
Intermediate
Intermediate
Intermediate
Intermediate
Intermediate
Late Intermediate
Early Advanced
Edition KAWAI
Edition KAWAI
The Japan
Federation of
Composers
Unpublished
Easy
Easy
Difficult
Difficult
139 APPENDIX C
Recording Contents of Accompanying CDs
CD 1
9 Preludes
Tracks 1
2
3
4
5
6
7
8
9
Prelude 1
Prelude 2
Prelude 3
Prelude 4
Prelude 5
Prelude 6
Prelude 7
Prelude 8
Prelude 9
(2:12)
(2:18)
(1:42)
(2:16)
(2:09)
(2:47)
(3:15)
(4:13)
(3:10)
A Circuit of Dreams
10 I
11 II
(6:26)
(5:04)
CD 2
Alice in Wonderland
Tracks 1
2
3
4
5
6
7
8
9
10
Alice in the Golden Afternoon
Down the Rabbit-Hole
Pool of Tears
The Dodo and a Strange Race
Advice from a Caterpillar
Cheshire Cat
A Mad Tea-Party Never Ends
The Queen’s Croquet-Ground
The Trial in a Muddle
After the Dream
(1:17)
(1:01)
(2:38)
(2:34)
(3:10)
(1:50)
(2:41)
(3:45)
(4:55)
(2:16)
10 pieces for Children
11
12
13
14
15
Hop, hop
The Lion with the GI haircut
Song Sung by a Dog Looking at its own Tail
Children’s Song in Africa
Soft Bavarian Cream
(0:41)
(1:00)
(0:44)
(0:36)
(1:20)
140 16
17
18
19
20
A Memorable Lemon Pie
Waku Waku [Exciting]
Uto Uto [Dozing]
Moa
E.q.quagga
(1:10)
(0:41)
(1:01)
(2:04)
(1:55)
Mother Goose
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
Three Blind Mice
Mrs. Bond
Old King Cole
The Cuckoo
Pussy Cat
On Christmas Day
Jack and Jill
Goosey, Goosey Gander
Rock-a-bye, Baby
Humpty Dumpty
Saint Paul’s Steeple
Hey Diddle Diddle
Who killed Cock Robin?
London Bridge
Twinkle, Twinkle Little Star
(0:26)
(0:34)
(1:01)
(1:01)
(0:30)
(1:05)
(0:21)
(0:33)
(1:04)
(0:30)
(1:08)
(0:33)
(1:49)
(1:27)
(1:34)
141 Bibliography
Musical Sources:
Kinoshita, Makiko. A Circuit of Dreams. Tokyo: The Japan Federation of Composers,
1986.
———. “Hop, hop.” In Carnival: Piano Solo Album for Recitals. Edited by Japan
Federation of Composers. Tokyo: KAWAI, 1997.
———. “The Lion with the GI haircut.” In The Collection of Piano Pieces by Composers
for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1989.
———. “Song Sung by a Dog Looking at its own Tail.” In The Collection of Piano
Pieces by 44 Composers for Children: Animal Chapter 1. Edited by Japan
Federation of Composers. Tokyo: KAWAI, 1990.
———. Mother Goose. Tokyo: KAWAI, 1991.
———. “Children’s Song of Africa.” In The Collection of Piano Pieces by 49
Composers for Children: 49 Composers Travel Around the World 1. Edited by
Japan Federation of Composers. Tokyo: KAWAI, 1991.
———. Alice in Wonderland. Tokyo: KAWAI, 1993.
———. “A Memorable Lemon Pie.” In The Collection of Piano Pieces by Composer for
Children:Dessert 1. Edited by Japan Federation of Composers. Tokyo: KAWAI,
1996.
———. “Soft Bavarian Cream.” In The Collection of Piano Pieces by 42 Composers for
Children: The Piano Restaurant 2. Edited by Japan Federation of Composers.
Tokyo: KAWAI, 1994-5.
———. “Waku Waku.” In The Collection of Piano Pieces by Composers for Children.
Edited by Japan Federation of Composers. Tokyo: KAWAI, 2000.
———. 9 Preludes. Tokyo: Ongakuno-Tomo-Sha, 2001.
———. “Uto Uto.” In The Collection of Piano Pieces by Composers for Children. Edited
by Japan Federation of Composers. Tokyo: KAWAI, 2003.
———. “Moa.” In vol. 2 of The Collection of Piano Pieces by Composers for Children.
Edited by Japan Federation of Composers. Tokyo: KAWAI, 2006.
142 ———. “E.q.quagga.” In vol. 2 of The Collection of Piano Pieces by Composers for
Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 2007.
———. A Circuit of Dreams. 2nd ed. Tokyo: KAWAI, 2007.
———. Twisting Landscapes. Tokyo: Ongakuno-Tomo-Sha, 2004.
Recordings:
Alice in Wonderland. Victor Entertainment VICS-61218. CD. 1999.
The Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007.
Articles:
Ferranti, Hugh de. “'Japanese Music' Can be Popular,” Popular Music 21, No. 2 (May,
2002): 195-208.
Books:
Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental
Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press,
1998.
Carroll, Lewis. Alice in Wonderland, 2nd ed. New York: W.W. Norton & Co., c1992.
Hinson, Maurice. Guide to the Pianist’s Repertoire. Bloomington, IN: Indiana University
Press, 2000.
Kubota, Keichi. はじめての音楽史ー古代ギリシアの音楽から日本の現代音楽まで.
[Music history – from ancient Greek to modern music in Japan] Tokyo:
Ongakuno-Tomo-Sha, 1998.
Jarrett, Sandra. Edvard Grieg and His Songs. Burlington, VT: Ashgate, c2003.
Kinoshita, Makiko. Yoku wakaru gakuten [Easily understandable music theory]. Tokyo:
Natsume-Sha, 2008.
Nissman, Barbara. Bartók and the Piano: A Performer’s View. Lanham, MD: Scarecrow
Press, 2002.
143 Yanase, Takashi. Aisuru Uta [Love songs]. Tokyo: Sanrio-sha, 1977.
Reviews:
Houser, Virginia. Review of Bartók and the Piano: A Performer’s View, by Barbara
Nissman. American Music Teacher 52, no. 6 (June/July 2003): 96
Orlofsky, Diane D. review of Edvard Grieg and His Songs, by Sandra Jarrett. Music
Educators Journal 91, no. 1 (September 2004): 64
Witten, David. Review of Bartók and the Piano: A Performer’s View, by Barbara
Nissman. Notes 60, no. 2 (December 2003): 452.
Websites:
Kinoshita, Makiko. “Music Composer, Kinoshita, Makiko: Official Web Site.”
http://m-kinoshita.com/english.html (accessed April 9, 2010).
Sudo, Eiko. “Interview 11: Professor Makiko Kinoshita; Piano Pieces Made In Japan.”
Piano Teachers National Association.
http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed April
9, 2010).
Taniguchi, Eriko. “Special Interview: Talk by Mr. Takashi Obara and Ms. Makiko
Kinoshita.” Piano Teachers National Association.
http://www.piano.or.jp/report/news/2010/08/13_11190.html (accessed January 4,
2011).