Piano music - Mitsukuri Shūkichi: Japanese harmony

5.1 Mitsukuri Shūkichi: Japanese harmony—and beyond

5.2.1 Piano music

Kiyose began to write piano pieces from an early stage, the first being Things Crawling Closer Without Sound (Oto naku shinobi yoru mono) in 1925. It is also the only piano piece Kiyose wrote before moving to Tokyo in the same year; like writing, Kiyose began composing more actively from 1930 onward.

Rather than being individual works, most of Kiyose’s piano pieces are arranged as collections, such as Countryside Dances (Inaka no odori, 1931; three pieces), Dances of Home District (Kyōdo buyō, 1933; three pieces), and Piano Pieces for Children (Kodomo no tame no pianokyoku, 1936; four pieces).²⁰⁶ Kiyose wrote several works containing the word “dance” (buyō or bukyoku) in their titles between 1930 and 1936. Otherwise, there are not any recurring themes. From the Window of a Building (Birudingu no mado yori, 1931) is the only one clearly representing Westernized Japan with its use of the English loanword birudingu (building). Works of absolute music, on the other hand, are in the minority, the only ones being Scherzino (1928), Andantino and Etude in Piano Piece Collection Vol. 2 (1937–1940), and Sonatine for Piano (1937), which was premiered only in the 1980s.

In total, 31 of 44 individual pieces between 1930 and 1940 adopt pentatonic scales. If examined closer, 21 (of 29) of these pieces were written prior to 1937, and only 4 (of 15) during or after.²⁰⁷ This also supports the idea of the year 1937 as a turning point. Even though Kiyose did not discuss “pentatonic scales”

in detail in his writings, his musical work does present a consistent view. In general, the use of pentatonic scales in his piano works can be classified into three types: 1) those adopting the same scale in both hands; 2) those adopting

205 Hayasaka uses the word chojōteki for “lyricism” and Nihonteki riarisumu for

“Japanese-style realism.”

206 Komiya (1995, 105) lists the pieces Story Told in the Ear (Mimigatari, 1931), March (Kōshinkyoku, 1931), Farewell (Owakare, 1931), Spring in the Hills (Oka no haru, 1932), and Two Dances (Futatsu no bukyoku, 1934) as Piano Piece Collection 1.

207 When pieces written before 1930 are also included, in total 34 of the 47 individual pieces composed before 1940 adopt pentatonic scales.

the yonanuki scale; and 3) those adopting the scales but including considerable deviation compared with the two other types. The pieces do not typically combine pentatonic melodies with Western harmony, but either construct the harmony from the scales adopted, or adopt different scales in right and left hand and become “bipentatonic.” Works adopting the yonanuki scale are in minority.

The pentatonic scales that Kiyose’s piano works adopt are those of traditional Japanese music. Min’yō and ritsu (see ex. 3.1) are the most typical ones, whereas miyakobushi is somewhat more uncommon, and ryūkyū appears only in Rūkyū Dances (Rūkyū buyō, 1936). Adoption of the scales applies not only to pitch classes and scale structures: they are handled in a manner resembling traditional music, meaning that they adopt melodic movements in the frame of tetrachords as defined by Koizumi (1958). As Koizumi published his theory only in 1958, this demonstrates a more profound knowledge of traditional music than could be obtained by simply referring to theories of the time.

Spring in the Hills (Oka no haru, 1932) is a fitting example of this, as has previously been discussed by Komiya (1976, 104). Even though the key signature suggests A minor, the piece is, however, not composed in a key of Western tonality (ex. 5.25). Instead, Kiyose adopts the pentatonic min’yō scale from E (E-G-A-B-D-E; ex. 4.3) throughout the piece in both hands—indeed structuring the harmony from the elements of the melody, as he originally thought that Western harmony was composed (see Hosokawa and Katayama 2008, 237). The only deviation from the min’yō scale is a playful chromatic gesture in measures 31–32 (ex. 5.26).

Example 5.25 Spring in the Hills, mm. 1–6 (Kiyose 1935b, 3).

Example 5.26 Spring in the Hills, mm. 31–32 (Kiyose 1935b, 5).

Spring in the Hills does not only adopt these scales in both hands, but also handles melodies as defined in Koizumi’s (1958) theory. This is best illustrated in the end (Komiya 1976, 104). The piece ends on a chord based on A instead of the fundamental E (ex. 5.27).

Example 5.27 Ending of Spring in the Hills (Kiyose 1935b, 5).

While this initially appears as a strange practice, it is actually in perfect accordance with the use of scales in traditional Japanese music. Let us examine the structure of the min’yō scale from E closer. As can be seen in example 4.3, it includes both E and A as nuclear tones. As melodies in traditional music end on nuclear tones, it is perfectly logical that Spring in the Hills ends on A instead of E: it adopts not only the pitch organization of the scale, but also follows the melodic rules of traditional Japanese music. This indicates that Kiyose was, indeed, familiar with traditional music, even though his discussion on “pentatonic scales” was not theoretical or analytical by nature.

Other works involving similar adoption of scales include Scherzino, Chanting (Dokyō, 1933), Dance of the Seashore (Hamabe no odori, 1932), Manzai (1933), Waltz (1935), and Village Festival (Mura matsuri, 1935). For example, Manzai from the three-piece collection Dances of Home District (1933) resembles Spring in the Hills in its approach. The key signature suggests B♭ major, but the beginning measures (ex. 5.28) already demonstrate adoption of the ritsu scale from B♭(ex. 5.29) instead of Western tonality.

Example 5.28Manzai, mm. 1–9 (Kiyose 1965a, 12).

Example 5.29Ritsu scale from B♭. Note the nuclear tones (B♭ and F).

The adoption of the scale as encountered in traditional music is again demonstrated in the ending of the piece (ex. 5.30). Manzai ends on F, which is a nuclear tone in the ritsu scale. The placement of the middle nuclear tone differs in min’yō and ritsu scales, which again demonstrates Kiyose’s intuitive knowledge of the use of scales in traditional music.

Example 5.30 Ending of Manzai (Kiyose 1965a, 16).

Apart from the approach of adopting the same scale in right and left hands, Kiyose also introduces different scales in both hands in some of his works. An example of this is Primitive Dance (Genshiteki buyō) from Dances of Home District. This can be seen already in the beginning of the work, where the right hand adopts the pentatonic scale A-B-D-E-G-A, while the left hand does not (ex. 5.31).

Example 5.31Primitive Dance, mm. 1–8 (Kiyose 1965b, 3).

In at least one of his writings, Kiyose (1930b, 17) stated interest in bitonal composition. The approach in Primitive Dance indeed represents a type of

“bipentatonicism.” The scale in the left hand is actually not a different scale, however, as the dissonances are used as a type of percussive element rather than as a deviation: not only do they stand out from the tonal material, they are also accompanied with the performance instruction sf—enhancing the overall “primitive” quality indicated in the title. The scale in the right hand remains consistent until measure 30, from where it goes through modulations until measure 43. After this, the tempo changes to a faster one and both hands begin playing in the same pentatonic key. This also signifies the beginning of the B section. After this, the piece returns to the original melody in measure 82, and eventually ends in a dissonance. In Primitive Dance, Kiyose does adopt pentatonic scales, but limits this to the right hand, while the left hand takes different roles during the piece.

A similar device is also encountered in Kiyose’s other piano pieces, including Bon Dance, Humoresque (1935), Ancient Dance (Kobuyōkyoku, 1935), and the three pieces in Ryūkyū Dances. For example, the three pieces in Ryūkyū Dances not surprisingly adopt the ryūkyū scale, but soon deviate from it. The first piece begins with a melody following the ryūkyū scale from A♭ (A♭-C-D♭-E♭-G-A♭), while using dissonances as a percussive element in the same way as in Primitive Dance (ex. 5.32). The first modulation occurs already in measure 5, after which the melody undergoes several modulations.

Eventually, the left hand adopts altogether different pitches (ex. 5.33).

Example 5.32 First piece from Ryūkyū Dances, mm. 1–4 (Kiyose 1965c, 27). © Kawai gakufu

Example 5.33 First piece from Ryūkyū Dances, mm. 29–32 (Kiyose 1965c, 29). © Kawai gakufu

By comparison, Kiyose wrote only a few piano works adopting Western tonality. The four-piece collection Piano Pieces for Children is exceptional in that it follows the yonanuki scale. Another example is the mazurka-like Lonely Dance (Kodokuna odori, 1934) which is based on the use of tonic and dominant in B♭ major (ex. 5.34). Accordingly, melodies end on either the first or fifth degree. Note, however, how Kiyose still avoids using clear-cut harmonies by using open chords and beginning the piece on the dominant.

Example 5.34Lonely Dance, mm. 1–8 (Kiyose 1974a, 27).

While being only few examples, these pieces demonstrate that pentatonic scales are a fundamental element in Kiyose’s piano works. He proves much more profound knowledge of their use than his writings reveal. But what about the “monotony” that Kiyose also regarded as a fundamental aspect of

Japanese-style composition? As an aesthetic quality, a “simple” or “monotonic”

style is somewhat more difficult to define than pentatonic scales, whose use is easy to observe in melodic material. However, a certain plainness is indeed evident in much of Kiyose’s work. For example, Hayasaka (1942a, 64) notes that Kiyose’s compositions seldom require virtuosic technique. A fitting example of a somewhat monotonic approach is Early Spring (Sōshun, 1931), in which the left hand mostly repeats the same note, and the melody is mostly fixed on G♯ (ex. 5.35). This changes only with the beginning of the B section in measure 33—which is again based on another kind of repetitiveness of material (ex. 5.36).

Example 5.35Early Spring, mm. 1–8 (Kiyose 1974b, 5).

Example 5.36Early Spring, mm. 33–42 (Kiyose 1974b, 6).

Several other pieces are also based on repetitions of melodies or rhythm; for example, Andantino from Piano Piece Collection Vol. 2 (ex. 5.37).

Example 5.37Andantino, mm. 1–10 (Kiyose 1960, 46).

Note also the other examples above: all of them are based on a relatively sparse use of material and repetition in at least one of the hands. Kiyose (1936a, 14), however, asserted that Japanese music was not merely “simple,” but incorporates a vast spectrum of subtle nuances on the inside, even when seemingly monotonic on the outside. These “subtle nuances” in Kiyose’s work are found in minor changes that the repeated passages of melodies undergo.

In many works, the left hand of the piano in particular repeats the very same—

or similar—patterns several times and presents only few harmonic changes.

Based on Kiyose’s piano compositions, the concept of monotony is present in four characteristics: 1) repetitiveness, 2) limited development of material and few harmonic changes, 3) simplicity of form, and 4) use of pentatonic scales. Kiyose discussed Japanese music as being “simple” or “monotonic”

when comparing Japanese-style music with Western—namely German-style—

composition, and opposed the adoption of Western harmony in favor of pentatonic scales. In this context, “Japanese” is primarily defined against

“Western:” it is the quality that distinguishes two musical styles. Rather than harmony, Kiyose was particular about scales and melodies: the (“simple”) pentatonic scales and sparse use of material distinguished his approach from Western music. Kiyose’s piano pieces are also relatively short and have not been structured to large-scale Western forms, such as sonatas. The only exception is the 1937 Piano Sonata, which, however, does not adopt the classical sonata form. In this sense, monotony was ultimately an aesthetic quality distinguishing Japanese-style composition from Western music.

Despite Kiyose’s avid discussion on the importance of preserving traditional Japanese culture, the titles of his most piano pieces do not suggest particularly Japanese themes. For example, titles such as Sad Song (Kanashii uta, 1931), Spring in the Hills, and Early Spring do not connect directly with Japanese culture or traditions.²⁰⁸ Consequently, one cannot typically judge

208 However, the titles do not necessarily explicitly mention a “Japanese” theme, although being based on Japanese culture. For example, Story of a Northern Country

whether Kiyose’s works include Japanese elements or not based on the titles.

There is, however, one exception to this: the “dances.” Dances of Home District and Ryūkyū Dances suggest a Japanese theme in the titles of the individual pieces, as also in the case of Countryside Dances (consisting of three untitled pieces); it seems logical that Kiyose, who discussed Japanese culture as a “culture of the countryside,” would also introduce this aspect in his musical work. In total, there are 15 individual “dances” among Kiyose’s piano works before 1940.²⁰⁹ With the exception of Ryūkyū Dances, however, most of them were written before 1936.²¹⁰

Even with their shared theme, however, the dances also introduce different musical approaches. Whereas titles such as Bon Dance²¹¹ refer to traditional customs, Lonely Dance does not suggest a Japanese theme and, furthermore, adopts Western functional harmony. Kiyose’s works discussed above already demonstrate the composer’s interest in an overall Japanese idiom of composition, but the “dance” pieces offer a further important viewpoint on Kiyose’s musical language. Even though some of these works suggest a specific theme, they do not allude to any specific genre of Japanese traditional music, but rather seem to aim at evoking the mood of these kinds of festivities. A fitting example is the third piece in Countryside Dances, with its lively syncopation that does not resemble any particular genre of traditional music (ex. 5.38).

(Kitaguni no monogatari, 1931) refers to Morioka in the northern part of Japan (Kiyose 1974c, 37)—not a “northern country” outside Japan.

209 The pieces are: Choreographic Poem Shadow (Buyōshi kage, 1928); Countryside Dances (two pieces); Dance of the Seashore; Dances of Home District (Primitive Dance, Bon Dance, and Manzai); Lonely Dance; Two Dances (Bukyoku nikyoku; without titles, 1934); Ryūkyū Dances (three pieces); and Ancient Dance. Waltz is undeniably a dance, but not included in this listing, as the words buyō and bukyoku seem to carry a more Japanese tone in Kiyose’s work.

210 An individual work suggesting a Japanese theme is Village Festival.

211 The Bon dance is a dance performed during the bon festivities in Japan in August.

The lack of specific allusions is encountered in other works as well. For example, Kiyose (1974c, 37) described how Chanting is a mixture of Satie’s humor and the way that Buddhist chanting sounded in his ears when he was a child. The piece thus alludes to the Buddhist shōmyō chant, but the musical material does resemble it (compare ex. 5.39 with the tranquil atmosphere of shōmyō)—particularly because of the time signature 3/4, which is not met in Buddhist chant.

Example 5.39Chanting, mm. 1–11. Source (Kiyose 1974d, 17).

Still, there are also musical similarities between Kiyose’s work and Japanese folk songs. For example, compare works such as Primitive Dance with

“Nanakusa” (ex. 5.40) from Iwate Prefecture.²¹² Not only is the mood similar, the melody also mostly focuses on one pitch and varies only a little. This is most likely what Kiyose meant with musical “monotony” or “simplicity” in folk songs, although it is a quality not that apparent in all of his work (compare ex.

5.40 with the examples above).

Example 5.40 “Nanakusa” (Koizumi 1984, 70).

Togashi (1956, 140) and Akiyama (1979, 11–12) have noted that while Kiyose composed “folk-like” music, he did not quote folk song melodies, but sought

212 “Nanakusa” is only one example among many others; for more transcriptions of folk songs, see Koizumi (1984) or Mikado (2004).

to evoke their spirit in his music. I would argue that this observation sums up the compositional philosophy of Kiyose’s piano pieces in general. Rather than imitating any specific genres, they aim at capturing the mood of traditional music—in a sense, presenting aspects of the original material in a new context.

This is further backed up by the fact Kiyose’s work does not imitate Japanese instruments with Western ones. It is also important that even though Kiyose did not discuss the use of pentatonic scales or “simplicity” in more detail, his piano pieces present a consistent approach adopted in a manner that resembles traditional music.

This began to change at the late 1930s, however. For example, pieces such as Burlesque and Etude (in Piano Piece Collection Vol. 2, 1937–1940) contain virtuosity and harmonies not encountered in Kiyose’s previous works for the piano. These became typical elements in Kiyose’s works in the 1940s; for example, Ballade (1943) demonstrates structural complexity not present in earlier works. At the same time, however, they mark a change of style in that notably fewer pieces adopt pentatonic scales or refer to Japanese themes. This change is discussed further below.

In document "March from the Age of Imitation to the Age of Creation" : Musical Representations of Japan in the Work and Thought of Shinkō Sakkyokuka Renmei, 1930-1940 (sivua 130-140)