Tradition and innovation in the art music of post-war Japan.
Item
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Title
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Tradition and innovation in the art music of post-war Japan.
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Identifier
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AAI9707138
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identifier
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9707138
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Creator
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Nuss, Steven Russell.
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Contributor
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Adviser: Joseph N. Straus
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Date
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1996
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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Many recent studies of contemporary Japanese music have tended to concentrate on qualities of Japanese poetic imagery, uses of Japanese traditional instruments, and aspects of Buddhist philosophy as the bases for their analytical approaches. Others have applied Western analytical models to modern Japanese works, and use their non conformance as a means of gauging its "Japaneseness." While these types of analyses often yield useful and interesting information, there has been very little work that examines the role of Japanese traditional music theory as both a direct and an abstract source of inspiration for much of the new music of modern Japan, and as one of the reasons for its advertised and popularly perceived "Japaneseness.".;I will explore the nature of this new "Japanese" music by examining specific ways in which some of the most prominent twentieth-century Japanese composers have "remade" elements of their musical past. In the chapters that follow, I combine recent post-tonal theories with original analytical approaches, and models derived from a study of the theory and practice of gagaku and nohgaku to analyze music by four distinguished composers of post-war Japan: Toru Takemitsu, Minoru Miki, Toshiro Mayuzumi, and Tokuhide Niimi. All four of these composers profess a deep debt to these two important traditional genres, and it will be the task of this dissertation to explore its musical specifics, and to illustrate that the "Japaneseness" of much of the most important twentieth-century Japanese music is the result of borrowings and transformations of specific features of Japanese traditional music.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
