This is updated on the bSpace site. Not the last version.
Music 134B Music of Japan
Spring 2010
Professor Bonnie C. Wade
Office hours: Thursdays 2:15 –4:00
(except 1/28, 2/25, 3/11,4/8, 4/22 when other time will be posted). Signup sheet on the board outside Morrison Hall Room 230.
bcwade@berkeley.edu
The purpose of this course is to guide you to an understanding of contemporary as well as historical musical
life in Japan and of significant musical concepts and practices. Three themes provide the focus and guide
the selection of music: 1) the interface of Japan with other cultures; 2) the gradual process of
popularization that has occurred in the musical arts from historical times to the present, and 3)
intertextuality in Japanese musical arts.
A bSpace site has been established that will be useful through the semester.
Use of computers and hand-held communication devices is not welcome (i.e., not permitted)
during the mere two hours and forty minutes per week in this class. (Assistance with note-taking can be
managed by special arrangement.) If you anticipate being bored, you have enrolled in the wrong course.
Course requirements
A.Reading
The textbook for the course is Bonnie Wade, Music in Japan: Experiencing Music, Expressing
Culture (Oxford University Press, 2005. It is available for purchase locally at University Press Books at
2430 Bancroft Way; their price is just over $20 (including CD) and I hope you will support this important
local bookstore by buying it there. The CD of musical selections that comes in the book gives you the core
of the listening for the course. You will need to bring this book to class regularly, as it will be closely
studied and constantly used.
In addition, a slim Reader will be available at University Copy Service, 2425 Channing (half a
block west of Telegraph).
A few books are on reserve in the Hargrove Music Library.
Finally, a few reading items are scanned into bSpace under Resources. The location of each
reading is noted in the syllabus.
B. Listening
In addition to the textbook CD tracks, there are listening selections as “Sound Files” on the
bSpace course site. “Liner notes” for those items are also on bSpace.
C. Participation in class discussion and other activities is important.
Active participation can be meaningful to your final grade.
D. Section. Sections for this course provide a performance laboratory in which you will take instruction on
the koto from Brian Wong. To prepare for each section meeting and the in-class performance on April 29,
you must plan on multiple hours each week for practice; don’t forget to build this into your schedule. The
instruments are available in the Practice Room area on the ground floor of Morrison Hall; your student ID
will give you access. The Practice Room monitor will have your name on a class list.
Your grade for the performance lab component of this course will be based on effort. (See grading
policy below.)
E. Intermittent written assignments are listed on the syllabus. Most originate as Activities in the
textbook.
No written assignments will be accepted past the due date.
No written assignment (text) will be accepted if handwritten.
F. One mid-term and a final exam. The mid-term is on material in the first “half” of the term, and the
final on the material after the mid-term. If your grade on the final is better than your grade on the mid-term,
I ignore the mid-term grade and average in only the final exam grade for the course grade. If not, the
average between the two exam grades becomes the “exam grade.”
G. Presentations to the class
Who: For students who will apply the course toward fulfillment of music major requirements
(whether enrolled in 74 as declared major or undeclared, or in 134B): Participation in at least one formal
presentation to the class is required.
Anyone else who wishes to participate in one of the formal presentations will receive an extra
credit grade that will be applied to the course grade.
Purpose:
These presentations are intended to complement the material in Chapters 5 and 6 of the textbook,
deepen knowledge of music in Japan for all the enrolled students, and contribute to the development of
performance and oral communication skills for those who participate in a presentation.
When?
Begin planning immediately by reading Chapters 5 and 6 for potential topic.
Plans must be firm as soon as possible.
As soon as you see or conceive a topic of interest to you, post it on the forum
for this course on bSpace, but
No later than Tuesday, Feb. 2, know where you are headed for your
presentation.
Feb. 18 Toru Takemitsu oral presentation (see below under [a])
March 30 Extra credit for any students who get together and do the Ataka no
mai with (or apart from) CD track 23.
April 13, 15, 20 or 27
What: Two types of opportunity
a) a focus on contemporary composition/composer, or
b) a focus on niche or Japanese popular music of some sort.
c) and one exception: March 30 Extra credit for any students who get
together to do the Ataka no mai with (or apart from) CD track 23.
a) Performance and oral presentation on a contemporary Japanese composer /work in the “concert
sphere”
These presentations comprise two parts: performance of a contemporary composition and oral
delivery of a contextualization of the work—about the composer, about the performed or other works. This
can be either an individual or group presentation. The composition might be solo, chamber, choral—
whatever you select and, if not solo, can “orchestrate” with classmates. If skill level prohibits you from
participating in a performance, then coordinating with performers on the oral presentation part of the project
is possible.
At least the oral part of a presentation on composer Toru Takemitsu is scheduled for Feb. 18 in
order to coordinate with course focus up to that point on gagaku, shakuhachi, and biwa. That oral
presentation will be of 30 minutes duration. The performance part of a presentation on Takemitsu music
other than those can be scheduled on one of the four days toward the end of the course—on April 13. 15. 20
or 27. The length of the presentations in April will be worked out as logistics fall into place.
Other contemporary composers than Takemitsu who are featured in the textbook (in 5 and 6 and
elsewhere) are Keiko Fujiie, Akira Nishimura, Toshio Hosokawa, Joji Yuasa, Toshio Ichiyanagi, Minoru
Miki and Tokuhide Niimi. Part of these projects, of course, will be exploring works for possibilities for
presentation. Their works range from concertos (part of the solo can be prepared) to chamber works, to
choruses. For instance, Keiko Fujiie has received prestigious prizes for her guitar concertos and composed
other interesting works for guitar quartet. Joji Yuasa has a very imaginative piece for a good
trumpeter/speaker that exploits San Diego weather reports. (Yuasa was professor at UCSD for several
years.) Minoru Miki has focused on operas for the past two decades.
In terms of resources—scores and recordings, this is going to be a challenge. Michael Kushell
(mgkushell@berkeley.edu) has offered to help me coordinate these (concert sphere) presentations. The
most sources are available for Takemitsu, Nishimura, Hosokawa, Ichiyanagi and Yuasa, but if you are
interested in another composer’s music and we can obtain the resources, fine. Due to the attention paid to
marimbist Keiko Abe at the end of the textbook, a presentation on contemporary music for percussion
would be welcome, for instance; that would no doubt bring in Minoru Miki. A small chorus (or vocal
trio/quartet) might want to present a work by Michio Mamiya who exploits the possibilities of vocables for
text and rhythm; lots of choral works call for piano accompanist.
b) Oral presentation on a niche music popular in Japan or on Japanese popular music. These
presentations too might be a group project, with responsibility distributed equally among the participants. I
will coordinate these presentations (bcwade@berkeley.edu).
Grading policy.
All aspects of your work in the course enter into the course grade. The course grade is based on
the following: a) the average of all the grades on written homework; one exam grade (see F above); a grade
for the section effort; the grade for a required presentation in class (see G above). Participation in class
discussions and activities that reveal good preparation through the term and any extra-credit project(s) are
taken into consideration as a means of raising the course grade by one increment (from B to B+, for
example).
AGENDA FOR THE SEMESTER
Tuesday, January 19 Introduction to the course
Thursday, January 21 Assignment 1 International Interface:
Looking Westward
Read Wade, Music in Japan, Preface and Chapter 1 (pp.xiii-19). Do Activity 1.1
(p. 17); I’ll expect to see you singing the melody in class.
Don’t just read Chapter 1; study it. In Chapter 1, choose some detail that
interests you and investigate it sufficiently that you can elaborate on it a bit to
contribute to the discussion of the chapter in class. For instance, if you are
interested in Japanese art, you might do a quick investigation of ukiyo-e woodblock
prints that are mentioned on p. 3. From that same paragraph: If you are an
orchestra musician, you might look quickly into symphony orchestras in Tokyo, or
into NHK Hall—or into NHK, for that matter. Harajuku websites offer lots of paths
to follow; pick one or two. If you’re a history buff, lo0k a bit into Captain Matthew
Perry (p. 9), who apparently has name recognition by
70 % of Japanese schoolchildren right now. I would love to hear an explanation of
the status of Beethoven’s 9th symphony (p. 16) in Germany (Europe?) at the time it
was introduced in Japan. The purpose of Chapter 1 is to lead your imagination to
modern contemporary Tokyo/Japan and give you a glimpse of how it got to be that
way. I will have a computer in class, in case you want to stream something.
Get started on writing a succinct summary of what you investigated:
1) tell me how you investigated it and what sources were reliable and helpful;
2) write an overview summary of the information you gleaned. See Tuesday, Jan. 26,
Assignment 2.
Take note: In this text, you will see the icon of a CD in the margin whenever a
selection on the book’s CD is referenced. When you see that icon, it is an implicit
instruction to listen to the CD track(s) for the point that is being made, whether or not
you are directed explicitly in an Activity to do so. In the course of studying Chapter
1, you will thus listen attentively to the first seven tracks.
A word to the wise: Throughout the term, I recommend that you keep a
listening log for each track on the book’s CD because many of the tracks are referred
to in multiple places. Each time you are directed to a track, make an entry in your
log for it, noting the text page number and the point that is being made about the
selection on that page. Your own observations should also be entered into your log.
In this way, your understanding of the music on that track will be cumulative and
you will also have an efficient tool for review ready for when you need it.
Tuesday, Jan. 26 Assignment 2 International Interface: Looking
Westward
Turn in your succinct summary of your investigation for Thursday, Jan. 21.
This is not for a grade, but to give me an idea of the sort of work and writing you do.
As short as one page is fine; it should be as long or as short as the adjective
“succinct” suggests that it be. Remember: no late papers accepted, or handwritten.
Students using this course to fulfill music major requirements should be
planning the required class presentation. See “Information on the Course.”
Thursday, Jan. 28 Assignment 3 International Interface: Looking
Eastward
Read Wade, Music in Japan, Chapter 2 (pp. 20-34 top). Do Activity 2.1 (p.
33), and print out your summary about netori to hand in. Remember: No
handwritten or late paper accepted. Be sure your name is on the paper.
In the Moffitt Media Center, view two films that complement the brief material in
the textbook, for discussion in class.
C2998 “Buddha in the Land of the Kami (7th-12th c.)” (53 ,min.) This historical
documentary introduces you to Japanese indigenous kami (gods), and to the
assimilation of Buddhism, and of elements of Chinese culture that became so
significant in Japanese culture.
“The Tale of Genji” (60 min.) This will acquaint you with one of the most
important literary works in Japanese history and also with art in the Heian period.
Take good notes on such important points as the author of “The Tale”, the sense of
places portrayed in the story, your impression of Genji as a person, the social
organization of court culture of the time, any evidence of music and its place in
Heian court life. Be prepared for discussion in class and be sure to take notes on
that as well.
Word to the wise: If you want to check the nature of your note-taking
relative to what you need to be doing to do well in this course, please come my office
hours with your notes on these two films and we’ll go over them. Sooner is better
than later. Thursdays, 2:15-4:00, sign-up sheet beside my office door.
Tuesday, Feb. 2 Assignment 4 Gagaku (cont.)
Read Wade, Music in Japan, Chapter 2 (pp. 34-44). Learn to write the Chinese
characters for each of the three types of stroke (pp. 34-5) to the point that you could
write them on the board in class from memory and easily find each in Figure 2.13
(left column). Prepare all the Activities to the point that you will be able to
“perform” each in class: Activity. 2.2 be ready to drum (with hands on desk) the
sequence of strokes; Activity 2.3, with any classmates you prefer (it takes at least
three, but more is fine), be ready to “drum” the four patterns in Fig. 2.13. Be
prepared to answer the questions posed at end of Activity 2.3 and, for Activity 2.4,
be able to immediately recognize whether you are hearing netori or a named
composition.
Additional listening:
Related to Figure 2.12 Netori in Hyôjô mode. bSpace Sound file #
Follow the percussion sequence
Related to p. 41, para. 2 “Etenraku “ in Hyôjô mode. BSpace Sound
file #. Listen to this and to textbook CD track 10, focusing on the
melody. If you hear differences, try to articulate what.
Possible extra-credit project for any student(s): Prepare a fifteen-minute (max)
oral presentation on mode in gagaku, using “Etenraku” performed in different
modes as the exemplar. If you are interested, please consult with me for sources.
The presentation should be ready by this day (Feb. 2) although there might not be
class time for it until the next class meeting (Feb. 4).
Thursday, Feb. 4 Assignment 5 Gagaku (contd.)
Review Wade, Chapter 2 for insights on aesthetics in gagaku music—
ensemble sound ideal and practices, for instance, and formal structure. Also review
pp. 41-2.
Listening:
Related to textbook p. 25 and p.39: Chôshi, bSpace Sound File #, the complete
selection for textbook CD track 9.
Related to textbook pp. 142-45
Related to lecture: the performance practice of nokorigaku bSpace Sound file #
In the course Reader
Garfias, Robert. “Music of a Thousand Autumn (1975), Chapter 1: Historical
Background, pp. 3-16, 22-34. This chapter from a UCLA Ph. D. thesis—the first
major work done on the subject of gagaku (it’s on tôgaku only) by an American
scholar—is a densely-written exegesis of the history and vicissitudes of the passage
of time for this ancient music. Read this primarily for information on the people
who have studied and played gagaku through time, and for a realistic picture of
continuity and change through more than a thousand years. Be able to distill the
information on both those perspectives.
Monday, Feb. 8 Guest Lecture/recital Yoko Hiraoka
Biwa and the Tale of the Heiki Morrison Hall Room 125
7:30 Free. Attend this if at all possible.
Tuesday, Feb. 9 Assignment 6 Biwa Yoko Hiraoka
Consider the chapter in Tokita on biwa. Or see Grove.
Alison McQueen Tokita and David W. Hughes, eds. 2008
The
Ashgate research companion to Japanese music.
Burlington,
VT: Ashgate, c2008.
ML340 .A84 2008 Acc. compact disc CD22650 MUSI.
Thursday, Feb. 11 Assignment 7 Focusing Inward and Across
Boundaries
Shakuhachi
Read Wade, Music in Japan, Chapter 3: pp. 45-6, 49-55
Read Kamisanga, Yuko. 1988. “The Fuke Sect’s Suizen,” in Blasdel book The
shakuhachi. ML990.S5 B51 1988 If so, scan for bSpace PDF
or shakuhachi article in Tokita
Tuesday, Feb. 16 Assignment 8 Shakuhachi (contd.)
Guest artist Masayuki Kodo
On this day, class will meet in the upper lobby of Hertz Hall
Read texts provided by Masayuki Kodo:
“Insight of Music”
“Shakuhachi in Multi-dimension”
Thursday, Feb. 18 Assignment 9 Focusing Inward and Across
Boundaries
Contemporary music for hichiriki, gagaku
ensemble, shakuhachi and biwa
Student presentation on composer Toru Takemitsu
Read Wade, Music in Japan, pp.159-through Activity 6.2 on p. 160. Do Activity
6.2.
Review Wade, Music in Japan, 46-9 “Beyond the Palace”
Read Wade, Music in Japan, pp. 142-45 “Continuing the Inward Look” and
Do Activity 5.3. If you wish to hear it (not required), the complete
composition can be heard on bSpace Sound Files # …
One clarification, about Activity 5.3: The last instruction reads “When you
have answered all these analytical questions…” You do not have to turn in answers
to the analytical questions as such; the results of your answers will constitute the
material for the essay.
Remember that I will not accept any late papers, or handwritten. EXCEPT, in
this case, I will accept late papers if necessary from the students who make the oral
presentation on Toru Takemitsu on this day. Their papers may be submitted at the
next class (Feb. 23).
Tuesday, Feb. 23 Assignment 10 Focusing Inward and Across
Boundaries Shamisen/syamisen
Bunraku (puppet theater)
Reading: Scanned into bSpace: Gerstle, C. Andrew. 1990 Section of Chapter 7
“Playwrights and Performers”: “Tsuruzawa Bunzô and the Changing Role of
Shamisen Players, 1744-1784” In Theater as Music, The Bunraku Play “Mt. Imo and
Mt. Se”: An Exemplary Tale of Womanly Virtue. pp. 107-116.
Shamisen in a private entertainment sector
In Media Center, view C8365 “Geisha” (51 min.) This documentary includes the
important musical training and performance of geishas. Take careful notes
particularly on that part of the video.
Tsugaru shamisen
Read Wade, Music in Japan, “Fuzzing Folk and Popular” pp. 55 through p. 58, para. 2
Scan this on bSpace????? Takahashi, Chikuzen.
Adventures of a Tsugaru-Jamisen Musician, vii-x, 14-20,
32. Harmonie Park Press, 1991. Yes, if he talks about
song in the genre.
There was something else on Tsugaru that I read.
Thursday, Feb. 25 Assignment 11 Focusing Inward and Across
Boundaries Taiko
Some reading. Susan Asai? Deborah Wong
Cal Raijin Taiko demo and workshop
Read Wade, Music in Japan, pp. 58-61 “Drumming ensembles”
If Ondekoza video in Media Center, assign watching it. Or BW loan it.
Ondekoza
Tuesday, March 2 Assignment 12 Focusing Inward and Across
Boundaries Introduction to Koto (not on mid-term) and Review
Read Wade, Music in Japan, pp. 65 to top p. 70; 72, para. 2 through p. 76, para. 2.
Do Activity 3.3 and 3.4. I’ll collect your transnotation and analysis. Because we will
have discussed this in class before you turn it in, you will be credited as having done
it, rather than graded.
Additional listening:
Kumiuta “Fuki” in bSpace Sound File # and notes
“Rokudan”(complete) in bSpace Sound File #
Prepare for the mid-term review by inventing two questions that you would ask if
you were designing the mid-term. We will use these in the review. Print them out
to give me at the beginning of class.
Thursday, March 4 Mid-term exam
Tuesday, March 9 Assignment 13 Focusing Inward and Across
Boundaries
Koto (cont.)
Reading:
Wade, Music in Japan: Review pp. 65 to top p. 70
Read pp. 70-top 72 “Michiyo Miyagi…”
In course reader:
Henry Johnson, 2004. Chapter X: In The koto : a traditional instrument in
contemporary Japan. Amsterdam : Hotei.
Part of Flavin’s article in Tokita about blind
shamisen players? Jiuta
Listening:
Another danmono
bSpace sound file #
Text CD track 13
“Yaegoromo” (should have been
referred to on p. 70)
Complete piece on bSpace sound file # (the
original tegoto) and # (the tegoto composed by Keiko
Nosaka)
Thursday, March 11 Assignment 14 Koto (cont.)
Reading:
Wade, Music in Japan, pp. 76 bottom -77. Do Activity 3.5; print out your
“articulation” to hand in.
In course reader: Bonnie C. Wade. 1994 “Keiko Nosaka and the 20-Stringed Koto:
Traditional and Modernization in Japanese Music” from Yung et al. Themes and
Variations, pp. 184-198.
BSpace sound file in addition to CD track of “Tennyo”.
Tuesday, March 16 Assignment 15 Assignment 16 Intertextuality
in the Theatrical Arts
Noh drama
Reading:
On two-hour reserve in the Music Library. (Wade’s personal copy)
Smith and Jensen. A History of Japan in Art, pp. 129-76. This will give you more of a
sense of the period in which the Noh drama emerged and flourished.
Textbook: Wade, Music in Japan, pp. 77-83, then the partial text of the play “Ataka”
on left hand pages between 84 and 102. For the present, ignore the right hand
pages.
Work with Activity 4.1
Thursday, March 18 Assignment 16 Intertextuality in the
Theatrical Arts Noh (cont.)
Read Wade, Music in Japan, pp. 104-14
Work with Activity 4.2.
View the video of “Ataka” that is on reserve in the Music Library. Follow the text
transliteration and transliteration that has been provided in class and in the
textbook. If you hear differences in what is performed, mark the spots.
Word to the wise: Take your textbook and CD with you on spring break to prepare
for Assignment 17.
March 22-25 Spring Break
Tuesday, March 30 Assignment 17 Intertextuality in the
Theatrical Arts Noh (cont.)
Do Activity 4.3 to turn in.
Review Wade, Music in Japan, pp. 109 to top p. 114.
Activity 4.4:
Work at this until you can speak (or sing) the syllables of the flute part with CD
track 23. You’ll do this in class.
Follow the ô-tsuzumi kakegoe calls and strokes, starting at the top of vertical
column 1 and working your way down the columns. When you are sure
you are following them correctly, try producing them.
Follow the ko-tsuzumi calls and strokes in similar manner and try to produce
them.
Extra credit for any students who get together and do the Ataka no mai with (or
apart from) CD track 23.
Activity 4.5 provides a good review.
Thursday, April 1 Assignment 18 Intertextuality in the Theatrical
Arts
Kabuki theater
Viewing:
In Moffitt Media Center, view either C 3246 or C 3029 for an overview of Kabuki
theater.
Reading
In the Music Library. (Wade’s personal copy)
Smith and Jensen. A History of Japan in Art, pp. 177-224. Return to your notes on the
Tokugawa era, and synthesize what you learn from the two sources. We’ll review
this in class.
In the textbook:
Review pp. 77-78.
Read “The Kabuki Theater” pp. 114-120 top
Work with Activity 4.6 and be prepared to report on your
listening to CD tracks 15 and 25-29.
Do Activity 4.7, to turn in. Remember: nothing handwritten or
late.
Tuesday, April 6 Assignment 19 Intertextuality in the Theatrical
Arts
Kabuki (cont.)
Reading
In the textbook: Read p. 120-126 through Activity 4.9.
Work with Activity 4.8 until you get it. Further, get comfortable with each of the
instrument’s pattern separately so that in class we can produce this passage
rhythmically in an interlocking way.
Do not do Activity 4.9. But word to the wise: This would make a very good final
exam question, for which you might begin to organize your thoughts.
In the course reader:
Shively, Donald. “The Social Environment of Tokugawa Kabuki “ from Studies in
Kabuki, pp. 1-61
As you read, take note of the relationship between the
government and kabuki, the ways in which you might categorize kabuki as “popular
culture,” the connections of kabuki with elite culture, ideas about gender both in
terms of real life and theatrically, and other topics raised by Shively that particularly
interest you. Contribution to class discussion is expected, as usual.
View the entire “Kanjinchô,”’ watching for all the spots pointed out in the textbook.
Remember: the play itself depicts pre-Tokugawa time. Yoshitsune is a figure in the
Heike Monogatari.
In the East Asia Library: EAL PN2924.5 K3 2004 DVD b&w
In the Music Library:
Thursday, April 8 Assignment 20 Intertextuality in the Theatrical
Arts
A film
Read Wade, Music in Japan, pp. 126-130 “The film ‘Men who step…”
In class, view “Men who Step on the Tiger’s Tail”
Read Wade XXXXX the Yale intertextual article. The DVD I used for the talk this
paper is based on is on reserve in the Music Library.
Begin working on compiling a chronology of musical developments, people, and
events, etc. that we have discussed through the term in very a-chronological
manner. To do this, draw on the textbook, your notes on videos and other reading,
and notes from class. I am not particular about the format you devise. I will collect
your chronology on the last day of class—April 29.
Tuesday, April 13 Assignment 21 Managing International
Interface
On this day, student presentations will begin.
Tentative assignment, to be adjusted when schedule of student presentations is set:
Read Wade, Music in Japan, pp. 131-142, pp. 145-154
Do Activities 5.1 and 5.2, to turn in.
Thursday, April 15 Assignment 22 From Japan Outward
Student presentations continue
Tentative assignment, to be adjusted when schedule of student presentations is set:
Read Wade, Music in Japan, pp. 155-165
The material on Toru Takemitsu was covered earlier.
Be sure you are ready for Activity 6.1.
Activity 6.3 will be pertinent only if a report is done on Joji Yuasa. Stay tuned.
Tuesday, April 20
Student presentations continue
Assignment to be determined when schedule of student presentations is set.
Thursday, April 22 Guest lecture: Miki Kaneda
Tuesday, April 27
Student presentations continue
Assignment to be determined when schedule of student presentations is set.
Thursday, April 29 Koto performance in class
On this day class will be held in the upper lobby of Hertz
Hall
Turn in the chronology you have developed—first mentioned in
Assignment 20 for April 8.
Tuesday, May 4
Review session
Prepare for the review by inventing two questions that you would ask if you were
designing the final exam. We will use these in the review. Print them out to give me
at the beginning of this session.
Thursday, May 13 Final Exam 6-9 pm Morrison Hall
Presentations to the class
Who: For students who will apply the course toward fulfillment of music major requirements
(whether enrolled in 74 as declared major or undeclared, or in 134B): Participation in at least one formal
presentation to the class is required.
Anyone else who wishes to participate in one of the formal presentations will receive an extra
credit grade that will be applied to the course grade.
Purpose:
These presentations are intended to complement the material in Chapters 5 and 6 of the textbook,
deepen knowledge of music in Japan for all the enrolled students, and contribute to the development of
performance and oral communication skills for those who participate in a presentation.
When?
Begin planning immediately by reading Chapters 5 and 6 for potential topic.
Plans must be firm as soon as possible.
As soon as you see or conceive a topic of interest to you, post it on the forum
for this course on bSpace, but
No later than Tuesday, Feb. 2, know where you are headed for your
presentation.
Feb. 18 Toru Takemitsu oral presentation (see below under [a])
March 30 Extra credit for any students who get together and do the Ataka no
mai with (or apart from) CD track 23.
April 13, 15, 20 or 27
What: Two types of opportunity
a) a focus on contemporary composition/composer, or
b) a focus on niche or Japanese popular music of some sort.
c) and one exception: March 30 Extra credit for any students who get
together to do the Ataka no mai with (or apart from) CD track 23.
a) Performance and oral presentation on a contemporary Japanese composer /work in the “concert
sphere”
These presentations comprise two parts: performance of a contemporary composition and oral
delivery of a contextualization of the work—about the composer, about the performed or other works. This
can be either an individual or group presentation. The composition might be solo, chamber, choral—
whatever you select and, if not solo, can “orchestrate” with classmates. If skill level prohibits you from
participating in a performance, then coordinating with performers on the oral presentation part of the project
is possible.
At least the oral part of a presentation on composer Toru Takemitsu is scheduled for Feb. 18 in
order to coordinate with course focus up to that point on gagaku, shakuhachi, and biwa. That oral
presentation will be of 30 minutes duration. The performance part of a presentation on Takemitsu music
other than those can be scheduled on one of the four days toward the end of the course—on April 13. 15. 20
or 27. The length of the presentations in April will be worked out as logistics fall into place.
Other contemporary composers than Takemitsu who are featured in the textbook (in 5 and 6 and
elsewhere) are Keiko Fujiie, Akira Nishimura, Toshio Hosokawa, Joji Yuasa, Toshio Ichiyanagi, Minoru
Miki and Tokuhide Niimi. Part of these projects, of course, will be exploring works for possibilities for
presentation. Their works range from concertos (part of the solo can be prepared) to chamber works, to
choruses. For instance, Keiko Fujiie has received prestigious prizes for her guitar concertos and composed
other interesting works for guitar quartet. Joji Yuasa has a very imaginative piece for a good
trumpeter/speaker that exploits San Diego weather reports. (Yuasa was professor at UCSD for several
years.) Minoru Miki has focused on operas for the past two decades.
In terms of resources—scores and recordings, this is going to be a challenge. Michael Kushell
(mgkushell@berkeley.edu) has offered to help me coordinate these (concert sphere) presentations. The
most sources are available for Takemitsu, Nishimura, Hosokawa, Ichiyanagi and Yuasa, but if you are
interested in another composer’s music and we can obtain the resources, fine. Due to the attention paid to
marimbist Keiko Abe at the end of the textbook, a presentation on contemporary music for percussion
would be welcome, for instance; that would no doubt bring in Minoru Miki. A small chorus (or vocal
trio/quartet) might want to present a work by Michio Mamiya who exploits the possibilities of vocables for
text and rhythm; lots of choral works call for piano accompanist.
b) Oral presentation on a niche music popular in Japan or on Japanese popular music. These
presentations too might be a group project, with responsibility distributed equally among the participants. I
will coordinate these presentations (bcwade@berkeley.edu).