Henry Cowell: Toward Cultural Hybridity

If the Société Musicale Indépendante stood for a new internationalism and new approaches toward the music of non-Western cultures, those preconditions reappeared in a more rigor-Żƿƪ þűĢ ƢĩƪŻŦƿƷĩ ůþűűĩƢ Ŏű Ʒʼnĩ ěŻűƷĩǡƷ ŻŁ NĩűƢǢ ŻǜĩŦŦܼƪ tĩǜ rƿƪŎě ®ŻěŎĩƷǢ ŻŁ þŦŎŁŻƢűŎþ܌

ĩƪƷþĚŦŎƪʼnĩĢŎűhŻƪűłĩŦĩƪŎűڐژڑڔ܌ěŻűƷŎűƿĩĢŎű®þűFƢþűěŎƪ쯣ƢŻůڐژڑږƷŻڐژڒڕ܌þűĢŦþƷĩƢŎű tĩǜæŻƢţܒěěŻƢĢŎűłƷŻ ŻǜĩŦŦܼƪȀƢƪƷǴ ŦǢĩƢ܌ƷʼnĩƪŻěŎĩƷǢǜþƪĢĩĢŎěþƷĩĢƷŻƷʼnĩƟĩƢŁŻƢůþűěĩŻŁ ƷʼnĩܹůŻƪƷĢŎƪěƿƪƪĩĢěŻůƟŻƪĩƢƪŻŁƪŻܮěþŦŦĩĢƿŦƷƢþůŻĢĩƢűƷĩűĢĩűěŎĩƪ܌ƪƿěʼnþƪ®ƷƢþǜŎűƪţǢܡsic], Schoenberg, Ruggles, Rudhyar, etc.”^ڛڛڢþűĢŎƷʼnþĢþĢĩěŎĢĩĢŦǢŎűƷĩƢűþƷŎŻűþŦƟĩƢƪƟĩěƷŎǛĩܣǜŻƢţƪ ڶڶڽ ¥ǀżƸĪģŏŲrĪÿģ܉ܶNĪŲƣǣ żǝĪŧŧܹƫtĪǝrǀƫŏĜ®żĜŏĪƸǣ܉ܷڐڑڌ܏

/ǡþůƟŦĩڗܘښܑrþƿƢŎěĩ'ĩŦþłĩܒSept Haï-kaïsܩږڞڗژܞڗڙܪܒűŻܘښܑܿhþŦƿűĩĢ݂þƿƷŻůűĩܓܒ݀

ŻƢěʼnĩƪƷƢþŦǛĩƢƪŎŻűܒȁűþŦƟþƢƷ

żƠǣƣŏŃŊƸޣڍڕڎڐěǣdÿǀěĪƣƸ

ĚǢڒڕ/ƿƢŻƟĩþű܌ƪŎǡhþƷŎűܮůĩƢŎěþű܌þűĢڒڏůĩƢŎěþűěŻůƟŻƪĩƢƪǜĩƢĩƟĩƢŁŻƢůĩĢŎűƷʼnĩƪŻěŎĩ-ƷǢܼƪěŻűěĩƢƷƪĚĩƷǜĩĩűڐژڑڔþűĢڐژڒڕ^ڛڜڙܤܒƷŦĩþƪƷŻűĩŻŁƷʼnĩƪŻěŎĩƷǢܼƪĩǛĩűƷƪܣþěŻűěĩƢƷŻűڐƟƢŎŦ ڐژڒڔܤþŦƪŻŎűěŦƿĢĩĢƟĩƢŁŻƢůþűěĩƪŻŁƷƢþĢŎƷŎŻűþŦdþƟþűĩƪĩůƿƪŎěܒ^ڛڜښ

Ǣڐژڑڔ܌þƷƷʼnĩþłĩŻŁڑڗ܌ ŻǜĩŦŦʼnþĢþŦƢĩþĢǢĚĩěŻůĩþűŎűƷĩƢűþƷŎŻűþŦěĩŦĩĚƢŎƷǢܒNĩʼnþĢĚĩĩű ŻűƷŻƿƢƷŻ/ƿƢŻƟĩƪĩǛĩƢþŦƷŎůĩƪƪŎűěĩڐژڑڒþƪþܹƪěþűĢþŦŻƿƪܺƟŎþűŎƪƷƟĩƢŁŻƢůŎűłěŦƿƪƷĩƢƪþűĢ ƟŦþǢŎűłŻűƷʼnĩƟŎþűŻƪƷƢŎűłƪ܌þűĢʼnþĢůþĢĩʼnŎƪĢĩĚƿƷþƷ þƢűĩłŎĩNþŦŦŻűړFĩĚƢƿþƢǢڐژڑړܒSű /ƿƢŻƟĩʼnĩůĩƷþűƿůĚĩƢŻŁŦĩþĢŎűłůŻĢĩƢűŎƪƷěŻůƟŻƪĩƢƪþűĢůƿƪŎěŎþűƪܒNŎƪĩƢŦŎűƢĩěŎƷþŦŎű ڐژڑڒʼnþĢĚĩĩűŁƿűĢĩĢĚǢNĩƢůþűű®ěʼnĩƢěʼnĩűܼƪtĩƿĩrƿƪŎţłĩƪĩŦŦƪěʼnþǽ Ʒ.^ڛڜڛ Similarly to Ravel’s þűĢ'ĩŦþłĩܼƪƪŻěŎĩƷŎĩƪ܌ ŻǜĩŦŦܼƪtĩǜrƿƪŎ쮯ěŎĩƷǢŻŁ þŦŎŁŻƢűŎþǜþƪěŻűěĩŎǛĩĢŎűŻƟƟŻƪŎƷŎŻű ƷŻƷʼnĩűþƷŎŻűþŦŎƪƷþĩƪƷʼnĩƷŎěƪŻŁěŻůƟŻƪĩƢƪþƪƪĩůĚŦĩĢŎűƷʼnĩhĩþłƿĩŻŁ ŻůƟŻƪĩƢƪ܌ŁŻƿűĢĩĢŎű ڐژڑڒܒ^ڛڜڜ An anti-nationalist stance was a precondition especially for many composers who had ĩůŎłƢþƷĩĢƷŻƷʼnĩîĢƿƢŎűłƷʼnĩFŎƢƪƷàŻƢŦĢàþƢ܌ƪƿěʼnþƪ/ĢłþƢĢßþƢĸƪĩŻƢ'þűĩ¦ƿĢʼnǢþƢ܌^ڛڜڝ a ěŦŻƪĩŁƢŎĩűĢþűĢþŦŦǢŻŁ ŻǜĩŦŦܒ¦ƿĢʼnǢþƢǜƢŻƷĩŎűڐژڑڑ܋

tÿƸŏżŲÿŧŏƫŰěƣĪĪģƫŊÿƸƣĪģżłƸŊĪłżƣĪŏŃŲĪƣ܏àŊĪƣĪǜĪƣƫǀĜŊŊÿƸƣĪģĪǢŏƫƸƫܞÿŲģܟƸŊĪłǀŲģÿŰĪŲƸÿŧ ŏŲƸĪƣŊǀŰÿŲƢǀÿŧŏƸǣŏƫŤŏŧŧĪģ܉ŰǀƫŏĜĜĪÿƫĪƫƸżĪǢƠƣĪƫƫƸŊĪĪƫƫĪŲƸŏÿŧŧŏłĪżłrÿŲ܉ŊŏƫŏģĪÿŧ܉ŊŏƫłĪƣǜżƣ܉

ŊŏƫÿƫƠŏƣÿƸŏżŲƫܨĜżŧżƣĪģÿƫƸŊĪǣŰÿǣěĪěǣƣÿĜŏÿŧŏģŏżƫǣŲĜƣÿƫŏĪƫܨŏƸĪǢƠƣĪƫƫĪƫżŲŧǣƸŊĪƫǀƠĪƣǿ-ĜŏÿŧĜżŰƠŧĪǢżłłÿƫŊŏżŲƫ܉żłƠĪĜǀŧŏÿƣěƣÿŏŲܫÿĜƸŏǜŏƸŏĪƫ܉ǝŊŏĜŊĜżŲƫƸŏƸǀƸĪƫƸŊĪżǀƸĪƣŰÿŤĪܫǀƠżłÿ ŲÿƸŏżŲ܉ŲżƸƸƣǀŧǣÿ¦ÿĜĪŏŲƸŊĪƫƠŏƣŏƸǀÿŧŧǣŊǀŰÿŲƫĪŲƫĪżłƸŊĪǝżƣģ܏ܞ܊ܟ

àĪŏŲƫŏƫƸżŲƸŊŏƫƠżŏŲƸěĪĜÿǀƫĪŏƸŏƫÿŲĪƫƫĪŲƸŏÿŧżŲĪƸżģÿǣ܏ŰĪƣŏĜÿƫŊżǀŧģěĪĜżŲƫŏģĪƣĪģÿƫƸŊĪ ŲĪǝƫżŏŧܠĜǀŧƸǀƣÿŧŧǣƫƠĪÿŤŏŲŃܡǝŊŏĜŊǝŏŧŧěĪƸŊĪŊżŰĪżłƸŊĪŲĪǢƸĜŏǜŏŧŏǭÿƸŏżŲǝŊĪŲ/ǀƣżƠĪŊÿƫ łÿŧŧĪŲŏŲƸŊĪƫƸÿƸĪżłƫŧǀŰěĪƣÿŲģŰĪģŏĪǜÿŧŏƫŰǝŊŏĜŊƫŊĪŏƫłÿƫƸÿƠƠƣżÿĜŊŏŲŃ܏SƸŏƫŲÿƸŏżŲÿŧŏƫŰ ǝŊŏĜŊŤŏŧŧĪģ/ǀƣżƠĪ܏¼ŊĪǜÿƣŏżǀƫ/ǀƣżƠĪÿŲƫƸÿƸĪƫĜżǀŧģŲżƸÿŲģĜÿŲŲżƸƣĪÿŧŏǭĪƸŊĪŏƣłǀŲģÿŰĪŲ-ƸÿŧŏģĪŲƸŏƸǣ܉ǀŲŏƸĪÿŲģĜżŲƫƸŏƸǀƸĪƸŊĪÃŲŏƸĪģ®ƸÿƸĪƫżł/ǀƣżƠĪǝŊŏĜŊÿŧżŲĪĜżǀŧģŊÿǜĪŃŏǜĪŲěŏƣƸŊ ƸżÿƸƣǀĪ/ǀƣżƠĪÿŲĜǀŧƸǀƣĪ܏tżǝƸŊĪŰĪƣŏĜÿŲĜŏǜŏŧŏǭÿƸŏżŲǝŊŏĜŊŏƫěĪŏŲŃěżƣŲŏƫŏŲŊĪƣĪŲƸŧǣÿŲ ŊĪŏƣƸżƸŊĪ/ǀƣżƠĪÿŲĜŏǜŏŧŏǭÿƸŏżŲ܏àŏŧŧŏƸŏŲŊĪƣŏƸŏƸƫŲÿƸŏżŲÿŧŏƫƸŏĜÿƸƸŏƸǀģĪ܉żƣǝŏŧŧŏƸƣĪƠǀģŏÿƸĪŏƸ ÿƸƸŊĪżǀƸƫĪƸ܉ÿŲģěĪŃŏŲƸżƸŊŏŲŤŏŲƸĪƣŰƫżłŏŲƸĪƣŊǀŰÿŲǀŲŏƸǣܐܞ܊ܟSłƸŊĪƫĪܞ/ǀƣżƠĪÿŲܟƫĪĪģƫ ÿƣĪƠĪƣŰĪÿƸĪģěǣƸŊĪǜŏƣǀƫżłŲÿƸŏżŲÿŧŏƫƸŏĜƫĪƠÿƣÿƸŏǜĪŲĪƫƫ܉ƸŊĪłǀƸǀƣĪǝŏŧŧƣĪƠĪÿƸƸŊĪƠÿƫƸ܉ÿŲģ ǜÿƣŏżǀƫƫĜŊżżŧƫǝŏŧŧǝÿƣǝŏƸŊŏŲƸŊĪěżƣģĪƣƫżłŰĪƣŏĜÿŏŲƫƸĪÿģżłĜżżƠĪƣÿƸŏŲŃƸżŃĪƸŊĪƣŏŲÿƸƣǀĪ ƫǣŲƸŊĪƸŏĜĜǀŧƸǀƣĪ܏®ǀĜŊÿŃŧżƣŏżǀƫƫǣŲƸŊĪƸŏĜĜǀŧƸǀƣĪĜÿŲżŲŧǣŰÿŲŏłĪƫƸŏłŰĪƣŏĜÿƣĪƫƠżŲģƫƸżƸŊĪ ƫƠŏƣŏƸǀÿŧŲżƸĪżłÿƣƸŏƫƸŏĜŏŲƸĪƣŲÿƸŏżŲÿŧŏƫŰ܉ǝŊŏĜŊŏƫŲżƸŏŲģŏdzłĪƣĪŲĜĪƸżƣÿĜĪěǀƸŊǀŰÿŲŏƫŰÿƫÿ fundamental, and racial differences as overtones.^ژڙڛ

ڶڷڴ Ibid., 454.

ڶڷڵ Ibid., 454, 461.

ڶڷڶ Sěŏģ܏܉ڐڐڕ܏

ڶڷڷ ŲĪǢƠŧŏĜŏƸŧǣŏŲƸĪƣŲÿƸŏżŲÿŧƠĪƣƫƠĪĜƸŏǜĪŊÿģÿŧƫżěĪĪŲĪŲǜŏƫŏżŲĪģěǣ/ģŃÿƣģßÿƣĹƫĪÿŲģ ÿƣŧżƫ®ÿŧǭīģżǝŊĪŲ ƸŊĪǣŊÿģłżǀŲģĪģƸŊĪSŲƸĪƣŲÿƸŏżŲÿŧ żŰƠżƫĪƣܹƫGǀŏŧģܠS GܡŏŲڍڕڎڍ܏ŰżŲŃżƸŊĪƣÿĜƸŏǜŏƸŏĪƫ܉ƸŊĪS GǝÿƫżƣŃÿŲŏǭܫ ŏŲŃƸŊĪîƠƣĪŰŏĪƣĪżłPierrot lunaire żŲڐFĪěƣǀÿƣǣڍڕڎڏ܏¼ŊĪhĪÿŃǀĪżł żŰƠżƫĪƣƫƫĪŃƣĪŃÿƸĪģłƣżŰƸŊĪS GŏŲ ڍڕڎڏ܏SŲڍڕڎڔßÿƣĹƫĪÿŲģ żǝĪŧŧǀŲŏƸĪģƸżłżƣŰƸŊĪ£ÿŲŰĪƣŏĜÿŲƫƫżĜŏÿƸŏżŲżł żŰƠżƫĪƣƫܠ£ ܡ܉ƫǀƠƠżƣƸŏŲŃ ĜżŰƠżƫĪƣƫłƣżŰěżƸŊtżƣƸŊÿŲģhÿƸŏŲŰĪƣŏĜÿܠŏěŏģ܏܉ڐڑڏܔƫĪĪÿŧƫżšÿ܉Making Music Modern܉ڍړړܨڎڌڌÿŲģtżŲ-ŲĪŲŰÿŲŲ܉ܶSŲƫƸŏƸǀƸŏżŲĪŲܕƣŃÿŲŏƫÿƸŏżŲĪŲ܉ܷڎڔڑܡ܏

ڶڷڸ ßÿƣĹƫĪÿƣƣŏǜĪģŏŲƸŊĪîżŲڎڕ'ĪĜĪŰěĪƣڍڕڍڑ܉¦ǀģŊǣÿƣܠƸŊĪŲƫƸŏŧŧǀŲģĪƣƸŊĪŲÿŰĪ'ÿŲŏĪŧ ŊĪŲŲĪǜŏĹƣĪܡżŲڍڏ tżǜĪŰěĪƣڍڕڍڒ܏

ڶڷڹ ¦ǀģŊǣÿƣ܉ܶ/ģŃÿƣģßÿƣĹƫĪÿŲģƸŊĪtĪǝrǀƫŏĜżłŰĪƣŏĜÿ܏ܷ

ŻǜĩŦŦܼƪŎűƷĩƢűþƷŎŻűþŦþěƷŎǛŎƷŎĩƪĚĩƷǜĩĩűڐژڑڒþűĢڐژڒڕƪʼnŻǜłƢĩþƷĩDzŁŻƢƷƪþűĢþŦƪŻþěĩƢƷþŎű ƢĩƪƷŦĩƪƪűĩƪƪ܌ŎűěƢĩþƪŎűłŦǢŦĩþĢŎűłƷŻŁƢƿƪƷƢþƷŎŻűƪŎűƷʼnĩǜþţĩŻŁƷʼnĩGƢĩþƷ'ĩƟƢĩƪƪŎŻűþűĢƷʼnĩ ĩűƪƿŎűłȀűþűěŎþŦŦŎůŎƷþƷŎŻűƪܒȃĩ£þűůĩƢŎěþűƪƪŻěŎþƷŎŻűŻŁ ŻůƟŻƪĩƢƪܣ£ ܤ܌ŁŻƿűĢĩĢĚǢ ßþƢĸƪĩþűĢ ŻǜĩŦŦŎűڐژڑڗ܌ŁŻƢĩǡþůƟŦĩ܌ŎűǛŻŦǛĩĢ܌þůŻűłŻƷʼnĩƢƪ܌þěŦŻƪĩěŻűƷþěƷƷŻƷʼnĩNþǛþűþ

®ŻěŎĩƷǢŁŻƢ ŻűƷĩůƟŻƢþƢǢrƿƪŎěŎűڐژڒڏþűĢƷʼnĩěŻŦŦþĚŻƢþƷŎŻűǜŎƷʼnƷʼnĩ ŻůůŎƪƪŎŻűŁŻƢSűƷĩƢ-űþƷŎŻűþŦ/ǡěʼnþűłĩ ŻűěĩƢƷƪ܌ŁŻƿűĢĩĢŎűßŎĩűűþþŦƪŻŎűڐژڒڏܒ^ڛڜڟ

ŻƷʼn¦ƿĢʼnǢþƢþűĢ ŻǜĩŦŦǜĩƢĩĢĩĩƟŦǢŎűǴ ŦƿĩűěĩĢĚǢűŻűܮàĩƪƷĩƢűůƿƪŎěþŦƷƢþĢŎƷŎŻűƪĩþƢŦǢ Żűܒ¦ƿĢʼnǢþƢʼnþĢŎůůŎłƢþƷĩĢƷŻƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪŁƢŻůFƢþűěĩŎűڐژڐڕ܌þűĢĚǢڐژڐڗʼnþĢĩƪƷþĚܮ ŦŎƪʼnĩĢƷŎĩƪƷŻƷʼnĩŻƪŻƟʼnŎěþŦěŻůůƿűŎƷŎĩƪƷʼnƢŻƿłʼn®ěƢŎþĚŎűܼƪƪƷƿĢĩűƷ'ŠþűĩhþǛŻŎĩܮNĩƢǬܣڐڗڗژܫ ڐژڗڑܤ܌ǜʼnŻů¦ƿĢʼnǢþƢůĩƷŎűtĩǜæŻƢţŎűڐژڐڗܒ^ڛڜڠ¦ƿĢʼnǢþƢþűĢ ŻǜĩŦŦȀƢƪƷůĩƷŎűڐژڑڏŎűƷʼnĩ Californian theosophical community Halcyon,^ڛڜڡŦĩĢĚǢdŻʼnűßþƢŎþűܣڐڗڕڒܫڐژڒڐܤ܌þűSƢŎƪʼnܮůĩƢܮ ican poet and amateur musician. Cowell had already joined the community as a teenager in 1912 and many of his early pianist practices, such as cluster and string piano techniques, as well as music-theoretical ideas, namely microtonal and polyrhythmic concepts,^ڛڜڢ can be attributed ƷŻƷʼnĩŻƪŻƟʼnŎěþŦŎűǴ Ŧƿĩűěĩƪ܌þƪGƢĩłŻƢNĩƢǬŁĩŦĢʼnþƪĢĩůŻűƪƷƢþƷĩĢܒ^ڛڝڙȃĩěŦƿƪƷĩƢƪ܌ŁŻƢĩǡþůƟŦĩ܌

were to represent the oneness of humans and nature,^ڛڝښ and the string piano techniques (sound ěƢĩþƷĩĢĚǢƟŦþǢŎűłĢŎƢĩěƷŦǢŻűƷʼnĩƟŎþűŻƪƷƢŎűłƪܤĩǛŻŦǛĩĢŎűƷʼnĩěŻűƷĩǡƷŻŁƷʼnĩŎĢĩþŻŁþłŎþűƷ harp conceived as the universe’s body of resonance (a reference to the antique concept of the

ܹĩŻŦŎþűʼnþƢƟܺþƪȀƢƪƷĢĩƪěƢŎĚĩĢĚǢݑƷʼnþűþƪŎƿƪfŎƢěʼnĩƢܤ܌þűŎĢĩþþĢŻƟƷĩĢĚǢßþƢŎþűŎűʼnŎƪܹěŻƪ-mic play” ȄĩNþƢƟŻŁhŎŁĩܣڐژڐڕܤ܌ŁŻƢǜʼnŎěʼn ŻǜĩŦŦǜƢŻƷĩƷʼnĩůƿƪŎěܒ^ڛڝڛ A transcultural dimension ǜþƪŎůƟŦŎěŎƷŎűƷʼnĩŻƪŻƟʼnŎěþŦƷʼnŻƿłʼnƷܒSűǴ ŦƿĩűěĩĢĚǢSűĢŎþűůǢƷʼnƪŻŁŻƢŎłŎűƟƢĩƪĩƢǛĩĢŎűƷʼnĩ ßĩĢþƪ܌NĩŦĩűþŦþǛþƷƪţǢěŻűěĩŎǛĩĢŻŁůƿƪŎěþƪܹěŻƪůŎěĩűĩƢłǢܺþűĢþƪþƟƢŎűěŎƟŦĩěʼnþƢþěƷĩƢܮ ized by continuous movement and dynamic motion^ڛڝڜ – features that abound in Cowell’s early ǜŻƢţܒSűþůŻƢĩĩǡƟŦŎěŎƷůŻǛĩƷŻǜþƢĢěƿŦƷƿƢþŦþűĢƢþěŎþŦʼnǢĚƢŎĢŎƷǢ܌dŻʼnűßþƢŎþűěŻűƪŎĢĩƢĩĢƷʼnĩ theosophical community the “germic embryonic seed of future majesties of growth,” of a “new ěŎǛŎŦŎǬþƷŎŻűűŻǜƪƷþƢƷŎűłƢŻƿűĢƷʼnĩ£þěŎȀěܺƟƢŻůŎűĩűƷŦǢŎűěŦƿĢŎűłܹŻƢŎĩűƷþŦƢþěĩƪܒܺ^ڛڝڝ

ڶڷں Sachs, Henry Cowell܉ڍڔڎܨڍڔڏ܉ڍڕڔܨڍڕڕ܏ŧƣĪÿģǣěǣڍڕڎڕ żǝĪŧŧ܉ƣĪƸǀƣŲŏŲŃłƣżŰÿƸżǀƣƸżƸŊĪ®żǜŏĪƸÃŲŏżŲ܉Ŋÿģ ƫǀŃŃĪƫƸĪģƸż/ƣŏĜŊrżƣŏƸǭǜżŲNżƣŲěżƫƸĪŧÿŲģ ÿƣŧ®ƸǀŰƠłŏŲĪƣŧŏŲƸŊĪܶĜƣĪÿƸŏżŲżłÿŲŏŲƸĪƣŲÿƸŏżŲÿŧŲĪƸǝżƣŤ ƸżĪǢĜŊÿŲŃĪÿŲģģŏƫƫĪŰŏŲÿƸĪŏŲłżƣŰÿƸŏżŲƸŊƣżǀŃŊĜĪŲƸĪƣƫŏŲrżƫĜżǝ܉hĪŲŏŲŃƣÿģ܉ĪƣŧŏŲ܉£ÿƣŏƫ܉tĪǝæżƣŤ܉ÿŲģ

®ƸÿŲłżƣģ܏ܷܠŏěŏģ܏܉ڍڔړ܏ܡǽƸĪƣƸŊĪƫÿŰĪŏģĪÿǝÿƫƠƣĪƫĪŲƸĪģƸżÿĜŏƣĜŧĪżłtĪǝæżƣŤƫĜŊżŧÿƣƫÿŲģĜżŰƠżƫĪƣƫ܉ƸŊĪ tĪǝæżƣŤrǀƫŏĜżŧżŃŏĜÿŧ®żĜŏĪƸǣǝÿƫłżǀŲģĪģ܉ƣĪżƣŃÿŲŏǭĪģÿƫƸŊĪŰĪƣŏĜÿŲrǀƫŏĜżŧżŃŏĜÿŧ®żĜŏĪƸǣܠr®ܡŏŲ

£ŊŏŧÿģĪŧƠŊŏÿ ŏŲ ڍڕڏڐ܏ żƸŊ ŏŲƸĪƣŲÿƸŏżŲÿŧ ÿŲģ ŏŲƸĪƣĜǀŧƸǀƣÿŧ łżĜǀƫĪƫ ǝĪƣĪ ÿěÿŲģżŲĪģ ģǀƣŏŲŃ ƸŊŏƫ ƠƣżĜĪƫƫ܉ ƫż żǝĪŧŧģŏģŲżƸƣĪŰÿŏŲŏŲǜżŧǜĪģܠŏěŏģ܏ܔƫĪĪÿŧƫż¦ÿż܉ܶŰĪƣŏĜÿŲ żŰƠżƫŏƸŏżŲÿŧ¼ŊĪżƣǣŏŲƸŊĪڍڕڏڌƫ܉ܷڑڕڒܨڒڌڔܡ܏

ڶڷڻ Ertan, Dane Rudhyar܉ڏڌܨڏڎ܏

ڶڷڼ Oja, Making Music Modern܉ڍڎڔܨڍڎڕ܏

ڶڷڽ SŲNÿŧĜǣżŲ܉ żǝĪŧŧǝÿƫƠƣżěÿěŧǣģƣÿǝŲƸżܶNŏŲģǀƣŊǣƸŊŰƫܷěǣƸŊĪĜżŰŰǀŲŏƸǣܹƫŰǀƫŏĜģŏƣĪĜƸżƣ/ģŃÿƣģ ŊĪĪƸ-ŊÿŰÿƫĪÿƣŧǣÿƫڍڕڍڒܠ®ÿĜŊƫ܉Henry Cowell܉ڍڔڔܡ܏¼ŊĪŰżƫƸƫǀěƫƸÿŲƸŏÿŧŏŲǵŧǀĪŲĜĪżŲƸŊĪƣŊǣƸŊŰŏĜƫǣƫƸĪŰĪǢƠŧżƣĪģ ŏŲ żǝĪŧŧܹƫƸƣĪÿƸŏƫĪNew Musical Resourcesܠڍڕڍڒܨڍڕܡ܉ŊżǝĪǜĪƣ܉ƣĪƫǀŧƸĪģłƣżŰƸŊĪĜżƣƣĪƫƠżŲģĪŲĜĪǝŏƸŊdżŊŲßÿƣŏ-ÿŲܹƫƫżŲ¦ǀƫƫĪŧŧܠNĪƣǭłĪŧģ܉ðĪŏƸÿŧƫ£ƣżǭĪƫƫǀŲģ/ƠŏƠŊÿŲŏĪ܉ڍڏڒܨڍڏړܡ܏

ڶڸڴ Herzfeld, ðĪŏƸÿŧƫ£ƣżǭĪƫƫǀŲģ/ƠŏƠŊÿŲŏĪ܉ڍڎڎܨڍڑڍ܏

ڶڸڵ Sěŏģ܏܉ڍڎڒ܏

ڶڸڶ Sěŏģ܏܉ڍڏڎܨڍڏڏ܏

ڶڸڷ See Oja, Making Music Modern܉ڍڌڍܨڍڌڒ܉¦ĪŏƫŊ܉ܶ¼ŊĪ¼ƣÿŲƫłżƣŰÿƸŏżŲżłGŏÿĜŏŲƸż®ĜĪŧƫŏܹƫrǀƫŏĜÿŧ®ƸǣŧĪ܉ܷڒڔܨړڒ܉

ÿŲģÿÿƸǭ܉ܶ¦ĪƫżŲÿŲǭģĪƫܸǝĪŏƷĪŲÃŲěĪǝĪŃƸĪŲ܉ܹܷڏڒ܏

ڶڸڸ ܶ¼ŊĪƣĪŏƫÿŲĪǝƣÿĜĪěŏƣƸŊŏŲŃŊĪƣĪŏŲƸŊĪàĪƫƸܞ܊ܟ܏SŲƸŊĪÿŃĪƫĜżŰŏŲŃ܉ŏƸǝŏŧŧěĪÿŧÿƣŃĪłÿĜƸżƣŏŲÿŲĪǝĜŏǜŏŧŏǭÿƸŏżŲ ŲżǝƫƸÿƣƸŏŲŃƣżǀŲģƸŊĪ£ÿĜŏǿĜܨżłÿƢǀŏƸĪģŏdzłĪƣĪŲƸŲÿƸǀƣĪłƣżŰƸŊÿƸżłƸŊĪƸŧÿŲƸŏĜ܏ƣŏĪŲƸÿŧƣÿĜĪƫǝŏŧŧěĪŏŲŏƸ

SűʼnŎƪěʼnŎŦĢʼnŻŻĢĢþǢƪŎű®þűFƢþűěŎƪěŻǜʼnĩƢĩʼnĩƪƟĩűƷƷʼnĩȀƢƪƷűŎűĩǢĩþƢƪŻŁʼnŎƪŦŎŁĩ܌ ŻǜĩŦŦ ěþůĩŎűƷŻěŦŻƪĩěŻűƷþěƷǜŎƷʼnůƿƪŎěƷƢþĢŎƷŎŻűƪŻŁ ʼnŎűþܣ þűƷŻűĩƪĩƟĩƢþܤ܌dþƟþűܣkotoůƿƪŎěܤ܌

þűĢSűĢŎþܣܹSűĢŎþűǛŎƢƷƿŻƪŎܺǜʼnŻþŦŦŻǜĩĢ ŻǜĩŦŦƷŻŦŎƪƷĩűŁƢŻůþěŻƢűĩƢŎűƷʼnĩŎƢƢŻŻůܤ܌^ڛڝڞ – an experience that, according to the composer, explains his open-mindedness toward musics of ƷʼnĩǜŻƢŦĢ܋ܹtŻŻűĩܡŎűƷʼnĩƪĩĩþƢŦǢǢĩþƢƪܢܡ܍ܢĩǛĩƢƷŻŦĢʼnŎůƷʼnþƷàĩƪƷĩƢűůƿƪŎěǜþƪƪƿƟƟŻƪĩĢƷŻ be superior.”^ڛڝڟ In his short piano encore Amiable Conversation ŁƢŻůڐژڐږ܌ ŻǜĩŦŦůŻĢĩŦĩĢƷʼnĩ ܣŦþƢłĩŦǢƟĩűƷþƷŻűŎěܤůĩŦŻĢŎĩƪŎűƷʼnĩŦĩǼƷʼnþűĢܣĚŦþěţţĩǢƪܤþűĢƢŎłʼnƷʼnþűĢܣǜʼnŎƷĩţĩǢƪܤŻűƷʼnĩ speech melodies in a conversation between two Cantonese in a Chinese laundry.^ڛڝڠ

'ƿƢŎűłƷʼnĩڐژڑڏƪ܌ ŻǜĩŦŦƢĩƟĩþƷĩĢŦǢĩƪƷþĚŦŎƪʼnĩĢěŻűƷþěƷƪǜŎƷʼnƪŎþűůƿƪŎěŎþűƪþűĢƪƷƿĢŎĩĢ ƷʼnĩŁŻƿűĢþƷŎŻűƪŻŁƪŎþűůƿƪŎěƟƢþěƷŎěĩƪܒNĩŻƢłþűŎǬĩĢƷǜŻܹ®ǢůƟŻƪŎþŻű/ǡŻƷŎěrƿƪŎěܺŎű ڐژڑړþűĢڐژڑڕŎűƷʼnĩrþűʼnþƷƷþűěʼnƿƢěʼn®ƷܒrþƢţܼƪܮŎűܮƷʼnĩܮŻƿǜĩƢŎĩ܌ŁĩþƷƿƢŎűłƟĩƢŁŻƢůþűěĩƪ of traditional music from Japan (shamisen, shakuhachiܤ܌SűĢŎþܣsitar, esrajܤ܌þűĢ ʼnŎűþŎűڐژڑړ܌^ڛڝڡ þűĢƟĩƢŁŻƢůĩƢƪŁƢŻůdþƟþűĩƪĩ܌ ʼnŎűĩƪĩ܌NŎűĢƿ܌þűĢƢþĚůƿƪŎěƷƢþĢŎƷŎŻűƪŎűڐژڑڕܒȃĩȀƢƪƷ ƪǢůƟŻƪŎƿůþŦƪŻŎűěŦƿĢĩĢþƷþŦţŻűܹƷʼnĩƟĩěƿŦŎþƢŎƷŎĩƪŻŁƢŎĩűƷþŦrƿƪŎěŎŦŦƿƪƷƢþƷĩĢĚǢSűƪƷƢƿ-mentalists.”^ڛڝڢ ȃŎƪ ůŎłʼnƷ ʼnþǛĩ Ěĩĩű ܹƷʼnĩ ȀƢƪƷ ƟƿĚŦŎě ƟƢĩƪĩűƷþƷŎŻű ŻŁ ĩǡƷƢþܮ/ƿƢŻƟĩþű ůƿƪŎě ŎűƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪܺŁŻƢþܹǜʼnŎƷĩþƿĢŎĩűěĩܒܺ^ڛڞڙ Anti-immigrant and racist discourse generally ěŻűȀűĩĢůƿƪŎěþŦþěƷŎǛŎƷŎĩƪŻŁƪŎþűůƿƪŎěŎþűƪƷŻƷʼnĩŎƢŦŻěþŦƿƢĚþűěŻůůƿűŎƷŎĩƪƪƿěʼnþƪ ʼnŎűþ-ƷŻǜűþűĢŦĩűĢ ŻǜĩŦŦܼƪĩDzŁŻƢƷƪþƟŎŻűĩĩƢŎűłěʼnþƢþěƷĩƢܒ

Sűڐژڑږ܌ ŻǜĩŦŦܼƪƟŻƪƪŎĚŦĩěŻűǛĩƢƪþƷŎŻűƪǜŎƷʼnĪŦþþƢƷżţþűĢʼnŎƪƷƢŎƟƷŻþrŻƢþǛŎþűůŻƿű-ƷþŎűǛŎŦŦþłĩŎűڐژڑڕǜĩƢĩƢĩŁĩƢƢĩĢƷŻŎűƷǜŻþƢƷŎěŦĩƪܒ^ڛڞښ In the same year, he began a study of the tŻƢƷʼnSűĢŎþűƢēłþand ƷēŦþƪǢƪƷĩůƪǜŎƷʼn®þƢþƷhþʼnŎƢŎܣþƟĩƢŁŻƢůĩƢŎűƷʼnĩ®ǢůƟŻƪŎƿůŻű/ǡŻƷŎě rƿƪŎěŎűڐژڑړܤþűĢƢþĚůƿƪŎěܗʼnĩŻĚǛŎŻƿƪŦǢþŦƪŻƪƷƿĢŎĩĢŁƢŎěþűĢƢƿůůŎűłŎűڐژڑڗܒ^ڛڞڛǼƷĩƢʼnĩ ǜþƪþƟƟŻŎűƷĩĢůƿƪŎěƷĩþěʼnĩƢþƷƷʼnĩtĩǜæŻƢţ®ěʼnŻŻŦŁŻƢ®ŻěŎþŦ¦ĩƪĩþƢěʼn܌ʼnĩŦĩěƷƿƢĩĢŻűܹtĩǜ-ŦǢ'ŎƪěŻǛĩƢĩĢƢŎĩűƷþŦ£ƢŎűěŎƟŦĩƪܺŎűƪƟƢŎűłڐژڒڏ܌ŻƢłþűŎǬĩĢƷǜĩŦǛĩǜĩĩţŦǢŦĩěƷƿƢĩƢĩěŎƷþŦƪŻű

ܹrƿƪŎě®ǢƪƷĩůƪŻŁƷʼnĩàŻƢŦĢܺŎűƪƟƢŎűłڐژڒڑ܌^ڛڞڜþűĢŁƢŻůڐژڒڒŻűƢĩłƿŦþƢŦǢƷþƿłʼnƷܹàŻƢŦĢrƿƪŎěܺ

ěŦþƪƪĩƪþƷƷʼnĩtĩǜ®ěʼnŻŻŦþűĢŁƢŻůڐژڒړŻűþƷƷʼnĩÃűŎǛĩƢƪŎƷǢŻŁ þŦŎŁŻƢűŎþþƷĩƢţĩŦĩǢþűĢ®Ʒþű-ŁŻƢĢÃűŎǛĩƢƪŎƷǢ܌ʼnĩűěĩŁŻƢƷʼnƿƪŎűłƷʼnĩƷŎƷŦĩܹrƿƪŎ쯣Ʒʼnĩ£ĩŻƟŦĩƪŻŁƷʼnĩàŻƢŦĢܒܺ^ڛڞڝ In the autumn ܞ܊ܟ܏àĪÿƣĪŃĪƣŰŏĜĪŰěƣǣżŲŏĜƫĪĪģżłłǀƸǀƣĪŰÿšĪƫƸŏĪƫżłŃƣżǝƸŊ܏ܷܠdżŊŲßÿƣŏÿŲ܉łżƣĪǝżƣģƸżTirawa ܞ®ÿŲ'ŏĪŃż܈

¼ƣżǀěÿģżǀƣ܉ڍڕڏڌܟ܉ƢǀżƸĪģŏŲdżŊŲƫżŲ܉ܶNĪŲƣǣ żǝĪŧŧ܉dżŊŲßÿƣŏÿŲ܉ÿŲģNÿŧĜǣżŲ܉ܷڍڒ܏ܡ ڶڸڹ Sachs, Henry Cowell܉ڎڍܨڎڒÿŲģ¦ÿż܉ܶNĪŲƣǣ żǝĪŧŧÿŲģNŏƫ ŊŏŲĪƫĪrǀƫŏĜNĪƣŏƸÿŃĪ܉ܷڍڎڌܨڍڎڎ܏

ڶڸں Sachs, Henry Cowell܉ڎڑ܏

ڶڸڻ Sěŏģ܏܉ڔڒ܏ƫŏŰŏŧÿƣƫĪƸƸŏŲŃŏƫƸÿŤĪŲǀƠŏŲ¦ǀƸŊ ƣÿǝłżƣģܫ®ĪĪŃĪƣܹƫƫŊżƣƸƫżŲŃChinaman LaundrymanܠڍڕڏڍܡǀŲģĪƣ ƸŊĪģŏƣĪĜƸŏŲǵŧǀĪŲĜĪżł żǝĪŧŧܹƫÿƠƠƣżÿĜŊƸżƫŧŏģŏŲŃƸżŲĪƫŏŲ ŊŏŲĪƫĪƫƠĪĪĜŊÿŲģ ŊŏŲĪƫĪżƠĪƣÿܠ¦ÿż܉ܶNĪŲƣǣ żǝĪŧŧÿŲģNŏƫ ŊŏŲĪƫĪrǀƫŏĜNĪƣŏƸÿŃĪ܉ܷڍڎڐܨڍڎڑ܉ڎڐڐܡ܏SŲƸŊŏƫƫżŲŃ܉ ƣÿǝłżƣģܫ®ĪĪŃĪƣŏŲƸƣżģǀĜĪƫƸǝżƣżŧĪƫ܉ܶÿ ěżƫƫǝŊżǜĪƣěÿŧŧǣÿƫƫÿǀŧƸƫŊŏƫĪŰƠŧżǣĪĪ܉ÿŲģƸŊĪŧÿǀŲģƣǣŰÿŲŊŏŰƫĪŧłǝŊżģĪŧŏǜĪƣƫÿƣĪĜŏƸÿƸŏżŲģĪƫĜƣŏěŏŲŃƸŊĪ ŊÿƣƫŊǝżƣŤŏŲŃĜżŲģŏƸŏżŲƫŊĪĪŲģǀƣĪƫÿŲģƫƠǀƣƣŏŲŃŊŏƫłĪŧŧżǝŰĪŲƸżǝżƣŤłżƣÿěĪƸƸĪƣǝżƣŧģܷܠŊƸƸƠƫ܈ܕܕĪŲ܏ǝŏŤŏ-ƠĪģŏÿ܏żƣŃܕǝŏŤŏܕ ŊŏŲÿŰÿŲ܉ܗhÿǀŲģƣǣŰÿŲܡ܏

ڶڸڼ Sachs, Henry Cowell܉ڍڎڕ܉ڑڎړŲڎڌŏģĪŲƸŏǿĪƫƸŊĪƠĪƣłżƣŰĪƣƫÿƸƸŊĪڎڔܕڍڎܕڍڕڎڐĜżŲĜĪƣƸÿƫæżƫŊŏ܉shamisenܔæżƫŊŏĜÿ܉

shakuhachiܔƣšǀŲGżǜŏŲģ܉sitarܔ®ÿƣÿƸhÿŊŏƣŏ܉esrajܔàÿŲŃfÿŲŃNżǀ܉wu conܠÿƸŏěŏģ܏܉ڍڔڔ܉ڑڏڏŲڍڍƸŊĪƫĪĜżŲģĜżŲ-ĜĪƣƸżŲڎڌܕڎܕڍڕڎڒŏƫŰĪŲƸŏżŲĪģܡ܏

ڶڸڽ Sěŏģ܏܉ڍڎڕ܏

ڶڹڴ Ibid.

ڶڹڵ żǝĪŧŧ܉ܶrżƣÿǜŏÿŲrǀƫŏĜܷÿŲģ żǝĪŧŧ܉ܶNżǝæżǀŲŃNǀŲŃÿƣǣ/ǢƠƣĪƫƫĪƫSŲģŏǜŏģǀÿŧŏƸǣ܏ܷ

ڶڹڶ Sachs, Henry Cowell܉ڍڔڔ܏

ڶڹڷ ¼ŊŏƫƫĪƣŏĪƫŏŲĜŧǀģĪģŧŏǜĪƠĪƣłżƣŰÿŲĜĪƫżłƣÿě܉ÿŧŤÿŲ܉ ŊŏŲĪƫĪ܉SŲģŏÿŲ܉SƣŏƫŊ܉dÿƠÿŲĪƫĪ܉dÿǜÿŲĪƫĪ܉rĪǢŏĜÿŲ܉

¦ǀƫƫŏÿŲ܉®ĜżƸƸŏƫŊ܉tÿƸŏǜĪŰĪƣŏĜÿŲ܉ÿŲģNĪěƣĪǝŰǀƫŏĜܠŏěŏģ܏܉ڍڕڑܡ܏

ڶڹڸ Sěŏģ܏܉ڎڌڔܨڎڌڕ܏

þűĢǜŎűƷĩƢŻŁڐژڒڐ܌þűĢŁƢŻůƷʼnĩƪƿůůĩƢƷŻƷʼnĩǜŎűƷĩƢŻŁڐژڒڑ܌ ŻǜĩŦŦǜþƪŦŎǛŎűłŎűĩƢŦŎűŻűþ Guggenheim Foundation grant.^ڛڞڞSűĩƢŦŎű܌ʼnĩǜþƪƪƷƿĢǢŎűłþƿĢŎŻƢĩěŻƢĢŎűłƪŎű/ƢŎěʼnrŻƢŎƷǬ von Hornbostel’s Phonogramm-Archiv systematically as well as receiving intense instructions in the performance and theory of Javanese music by Raden Mas Jodjana, in Balinese music by the ĢþűěĩƢܮůƿƪŎěŎþűܒFܒ¦ŻĩůþʼnŦþŎƪĩŦþű܌þűĢŎűSűĢŎþűůƿƪŎěĚǢ£Ŏěʼnƿ®þůĚþůŻŻƢƷʼnǢܣڐژڏڒܫږڒܤ ŁƢŻůƷʼnĩÃűŎǛĩƢƪŎƷǢŻŁrþĢƢþƪܒ^ڛڞڟ'ƿƢŎűłʼnŎƪĩƢŦŎűǢĩþƢƪʼnĩůĩƷƢűŻŦĢ®ěʼnŻĩűĚĩƢł܌ŦĚþű Berg, and Anton Webern, who at one point was supposed to conduct a concert with American ěŻůƟŻƪĩƢƪŎűßŎĩűűþܒ^ڛڞڠ

£ĩƢʼnþƟƪƷʼnĩůŻƪƷƪŎłűŎȀěþűƷþƪƟĩěƷŻŁ ŻǜĩŦŦܼƪþƟƟƢŻþěʼnƷŻǜþƢĢűŻűܮàĩƪƷĩƢűůƿƪŎěŎƪʼnŎƪ anti-essentialist position, based on the close observation of the musical traditions he studied.

Criticizing the focus of comparative musicology on acoustics and tone psychology, Cowell de-ƟŦŻƢĩĢƷʼnþƷƪƿěʼnþűþƟƟƢŻþěʼnǜŻƿŦĢĩǡěŦƿĢĩěƿŦƷƿƢþŦĩǡěʼnþűłĩþűĢʼnǢĚƢŎĢŎƷǢ܋ܹȃĩƢĩŎƪǛĩƢǢŦŎƷƷŦĩ music in the world of which one may say with certainty that it is completely indigenous to the region in which it may be found. And when, through integration, does a hybrid form cease to be ʼnǢĚƢŎĢܓSƷŎƪʼnþƢĢƷŻƪþǢܒƟŎűŎŻűƪĢŎDzŁĩƢܒܺ^ڛڞڡȃŎƪĩǛĩűƷƿþŦŦǢŦĩĢƷŻ ŻǜĩŦŦܼƪƟƢŻǛŻěþƷŎǛĩŎĢĩþƷʼnþƷ

“the single tone with a given pitch is not the basis of musical sound” but that such a basis rather is to be found in the sliding tone, represented by a curve.^ڛڞڢ In reaction to systematic scale theories ŎűůĩƢŎěþűůƿƪŎěƷʼnĩŻƢǢĢƿƢŎűłƷʼnĩĩþƢŦǢڐژڒڏƪ܌^ڛڟڙƷʼnŎƪŎĢĩþǜþƪĩǛĩűƷƿþŦŦǢǜŻƢţĩĢŻƿƷŎűƷʼnĩ ڐژڒږƷƢĩþƷŎƪĩȄĩtþƷƿƢĩŻŁrĩŦŻĢǢ, in which sliding tones occupy a prominent position because

ܞ®ŧŏģŏŲŃƸżŲĪƫܟÿƣĪģŏdzłĪƣĪŲƸŏÿƸĪģƫżÿƫƸżĪǢƠƣĪƫƫƸŊĪǿŲĪƫƸƫŊÿģĪƫżłŰĪÿŲŏŲŃŏŲƸŊĪĜǀŧƸŏǜÿƸĪģ

ƣŏĪŲƸÿŧƫǣƫƸĪŰƫżłŰǀƫŏĜ܏SŲżǀƣǜżĜÿŧŰǀƫŏĜ܉ƸŊĪǣÿƣĪÿƫżƣƸżłƫŤĪŧĪƸżŲŏŲƸŊĪĜŧżƫĪƸ܏SƸŏƫƠŊǣƫŏ -ĜÿŧŧǣŏŰƠżƫƫŏěŧĪłżƣƸŊĪŊǀŰÿŲǜżŏĜĪƸżƠƣżĜĪĪģłƣżŰżŲĪƠŏƸĜŊƸżÿŲżƸŊĪƣ܉ŧĪŃÿƸż܉ǝŏƸŊżǀƸƫŧŏģŏŲŃ܏

ܞ܊ܟ¼ŊĪƣĪÿƫżŲƸŊÿƸƫŧŏģĪƫŊÿǜĪěĪĪŲěÿŲŲĪģŏƫģżǀěƸŧĪƫƫěĪĜÿǀƫĪƸŊĪǣǝĪƣĪƫżěÿģŧǣǀƫĪģ܉ÿŲģ ƸŊÿƸǝÿƫěĪĜÿǀƫĪƫżŧŏƸƸŧĪǝÿƫŤŲżǝŲżłƸŊĪŏƣłǀŲĜƸŏżŲƫ܏SŲÿŧŧǜżĜÿŧŰǀƫŏĜ܉ÿŲģżŲÿŧŧƫƸƣŏŲŃĪģÿŲģ żƸŊĪƣŏŲƫƸƣǀŰĪŲƸƫĜÿƠÿěŧĪżłƫŧŏģŏŲŃ܉ƸŊĪǣÿƣĪǀƫĪģżǽƸĪŲÿĜĜżƣģŏŲŃƸżĜĪƣƸÿŏŲĜżŲǜĪŲƸŏżŲƫܞ܊ܟ܏^ژڜڗ ȃĩŎĢĩþƷʼnþƷŎƷŎƪűŻƷȀǡĩĢƷŻűĩƪĚƿƷƢþƷʼnĩƢěŻűƷŎűƿŻƿƪůŻǛĩůĩűƷƪĚĩƷǜĩĩűƷŻűĩƪŻƢƟŎƷěʼnĩƪ that act as the basis of music clearly emerged from the close study of Indian, Chinese, and Jap-þűĩƪĩůƿƪŎěƷƢþĢŎƷŎŻűƪ܌þƪǜĩŦŦþƪƷʼnĩŻƪŻƟʼnŎěþŦŎĢĩþƪŻŁþěŻűƷŎűƿŻƿƪ܌ĢǢűþůŎě܌ĩűĩƢłĩƷŎěǴ ŦŻǜ of sound as manifest in Cowell’s string piano compositions.

ƪtþűěǢæƿűʼnǜþ¦þŻʼnþƪĢĩůŻűƪƷƢþƷĩĢ܌ĩǡƟþűĢĩĢƪŦŎĢŎűłƪƷƢƿěƷƿƢĩƪŁŻƢůƷʼnĩĚþƪŎƪŻŁƷʼnĩ unpublished score of AtlantisܣڐژڑڕܤŁŻƢƷʼnƢĩĩǛŻěþŦŎƪƷƪþűĢŻƢěʼnĩƪƷƢþܒȃĩƟƢĩůŎĩƢĩŻŁƷʼnĩƟŎĩěĩ܌

ǜƢŎƷƷĩűŁŻƢþĢþűěĩƟĩƢŁŻƢůþűěĩŻŁƷʼnĩěʼnŻƢĩŻłƢþƟʼnĩƢ'ŻƢŎƪNƿůƟʼnƢĩǢ܌ǜþƪěþűěĩŦĩĢ܌ƟŻƪƪŎĚŦǢ due to the experimental setting of the score.^ڛڟڛȃĩȀƢƪƷůŻǛĩůĩűƷƪʼnŻǜƪþƪǢƪƷĩůþƷŎěŦþǢĩƢŎűł ڶڹڹ żǝĪŧŧܹƫ ƫƸÿǣƫ ŏŲ ĪƣŧŏŲ ܠŏŲĜŧǀģŏŲŃ łƣĪƢǀĪŲƸ ƸƣŏƠƫ Ƹż żƸŊĪƣ ƠŧÿĜĪƫ ŏŲ /ǀƣżƠĪܡ ĜżǜĪƣĪģ ƸŊĪ ƠĪƣŏżģƫ ڍܕڍڌܕڍڕڏڍܨ

ڎڏܕڍڎܕڍڕڏڍÿŲģڏڍܕړܕڍڕڏڎܨڎڎܕڍڎܕڍڕڏڎ܏¼ŊĪGǀŃŃĪŲŊĪŏŰŃƣÿŲƸǝÿƫŃƣÿŲƸĪģłżƣżŲĪǣĪÿƣěǀƸ żǝĪŧŧǝÿƫÿŧŧżǝĪģ ƸżƫƠŧŏƸŊŏƫƫƸÿǣŏŲĪƣŧŏŲŏŲƸżƸǝżŊÿŧǜĪƫƸżěĪÿěŧĪƸżƸĪÿĜŊÿƸƸŊĪtĪǝ®ĜŊżżŧŏŲƫƠƣŏŲŃƫĪŰĪƫƸĪƣڍڕڏڎܠŏěŏģ܏܉ڍڔڕܡ܏

ڶڹں Sěŏģ܏܉ڍڕڌ܏

ڶڹڻ Sěŏģ܏܉ڍڕڎܨڍڕڏ܏

ڶڹڼ żǝĪŧŧ܉ܶNǣěƣŏģrǀƫŏĜܷܠǀŲƠǀěŧŏƫŊĪģrƫ܏ܡ܉ƢǀżƸĪģŏŲ®ÿĜŊƫ܉Henry Cowell܉ڍڕړܨڍڕڔ܏

ڶڹڽ Sachs, Henry Cowell܉ڍڕڔ܏

ڶںڴ ®ĪĪ¦ÿż܉ܶŰĪƣŏĜÿŲ żŰƠżƫŏƸŏżŲÿŧ¼ŊĪżƣǣŏŲƸŊĪڍڕڏڌƫܷÿŲģ¦ÿż܉ܶNĪŲƣǣ żǝĪŧŧÿŲģNŏƫ ŊŏŲĪƫĪrǀƫŏĜNĪƣ-ŏƸÿŃĪ܉ܷڍڎڕܨڍڏڌ܏

ڶںڵ żǝĪŧŧ܉The Nature of Melody܉ړڒ܉ƢǀżƸĪģŏŲ¦ÿż܉ܶNĪŲƣǣ żǝĪŧŧÿŲģNŏƫ ŊŏŲĪƫĪrǀƫŏĜNĪƣŏƸÿŃĪ܉ܷڍڏڌ܏

ڶںڶ ¦ÿż܉ܶNĪŲƣǣ żǝĪŧŧÿŲģNŏƫ ŊŏŲĪƫĪrǀƫŏĜNĪƣŏƸÿŃĪ܉ܷڍڎڑ܏

ŻŁłŦŎƪƪþűĢŎǜŎƷʼnþűĢǜŎƷʼnŻƿƷþěʼnþűłĩŻŁĢŎƢĩěƷŎŻűܣ/ǡܒݑڑܒڕܤܒȃĩŎůůĩĢŎþƷĩŎűƪƟŎƢþƷŎŻűŁŻƢ this approach may have been a vocal ensemble using extended vocal techniques that Cowell ʼnĩþƢĢŎűþěŻűěĩƢƷŎű£ƢþłƿĩŎűƟƢŎŦڐژڑڕ܌ƟƢŻĚþĚŦǢŦĩĢĚǢ/ůŎŦFƢþűƷŎƮĩţƿƢŎþűܒ^ڛڟڜ Atlantis thus demonstrates impressively how principles derived from non-Western practices and the latest ƷĩěʼnűŎơƿĩƪŻŁěŻűƷĩůƟŻƢþƢǢůƿƪŎěůþǢůĩƢłĩŎűƷŻƪƟĩěŎȀěþűĢŎűűŻǛþƷŎǛĩůƿƪŎěþŦƪƷƢƿěƷƿƢĩƪܒ

£ĩƢʼnþƟƪĩǛĩűůŻƢĩƢĩůþƢţþĚŦĩŎƪ ŻǜĩŦŦܼƪþĢŻƟƷŎŻűŻŁƷʼnĩƪŦŎĢĩƟƢŎűěŎƟŦĩŎűʼnŎƪĩþƢŦǢŻƢěʼnĩƪƷƢþŦ score Some Music, ƟƿĚŦŎƪʼnĩĢþƪĩþƢŦǢþƪڐژڑڑܒȃĩŻƢěʼnĩƪƷƢþŦƪƷƢƿěƷƿƢĩĩǡĩůƟŦŎȀĩƪƷʼnĩƟƢŎűěŎƟŦĩ of continuous movement, realized by alternating scalar movements within semi- and whole-ƷŻűĩܮěŦƿƪƷĩƢƪŻŁĢŎDzŁĩƢĩűƷƢþűłĩƪܒȃĩƪěŻƢĩƪĩĩůƪƷŻþűƷŎěŎƟþƷĩěĩƢƷþŎűƪŻƿűĢěŻůƟŻƪŎƷŎŻűƪĚǢ SþűűŎƪåĩűþţŎƪþűĢfƢǬǢƪǬƷŻŁ£ĩűĢĩƢĩěţŎŻŁƷʼnĩڐژڔڏƪþűĢڕڏƪ܌þűĢěŦĩþƢŦǢƢĩƟƢĩƪĩűƷƪƷʼnĩŎĢĩþ ŻŁŎűĢŎƪƷŎűěƷ܌ƪƷĩþĢŎŦǢŎűǴ ŦĩěƷĩĢƟŎƷěʼnĩƪþűĢƷʼnĩƷʼnĩŻƪŻƟʼnŎěþŦܹŻűĩűĩƪƪŻŁƪŻƿűĢܒܺ

®ŦŎĢŎűłƟŎƷěʼnĩƪþƢĩƿƪĩĢůŻƢĩěŻűƪŎƪƷĩűƷŦǢŎűǜŻƢţƪŁƢŻů ŻǜĩŦŦܼƪŦþƷĩƢƟĩƢŎŻĢƪ܌þƪŎű®Ǣů-ƟʼnŻűŎĩƪڐڐƷŻڐڔܣڐژڔڒܫڕڏܤܒSűƷʼnĩǜŻƢţƪŻŁƷʼnĩڐژڒڏƪ܌ƪŦŎĢŎűłƷŻűĩƷĩěʼnűŎơƿĩƪþƢĩűŻƷĢŻůŎűþűƷܗ the restricted use of sliding lines for the purpose of word-painting in the song Rest ܣڐژڒڒܤþűĢ the secondary role of continuous slides in the third movement of the Mosaic Quartet ŻŁ ڐژڒڔ܌

ǜʼnĩƢĩƷʼnƢĩĩʼnŎłʼnĩƢƪƷƢŎűłƪƟƢŻǛŎĢĩþĚþěţłƢŻƿűĢŻŁěŻűƷŎűƿŻƿƪŦǢƪŦŎĢŎűłƟŎƷěʼnĩƪŁŻƢƷʼnĩěĩŦŦŻܼƪ ěþűƷŎŦĩűþ܌ĢŻűŻƷĢĩȀűĩƪŦŎĢŎűłƷŻűĩƪþƪěŻƢĩƪƷƢƿěƷƿƢþŦĩŦĩůĩűƷƪܒ^ڛڟڝ

Cowell’s United Quartetܣ®ƷƢŎűł¥ƿþƢƷĩƷűŻܒݑړܤŻŁڐژڒڕůþƢţƪƷʼnĩěŻůƟŻƪĩƢܼƪȀƢƪƷĩǡƟŦŎěŎƷþƷ-ƷĩůƟƷþƷůƿƪŎěþŦƟŻŦǢƪƷǢŦŎƪů܌Ǵ ŦĩǡŎĚŦǢþĢþƟƷŎűłþǛþƢŎĩƷǢŻŁܹƷʼnĩǜŻƢŦĢܼƪůƿƪŎěƪǢƪƷĩůƪ܌ܺþŁĩþ-ture which would become characteristic of Cowell’s later style, although usually only one parti-ěƿŦþƢƷƢþĢŎƷŎŻűƟĩƢƟŎĩěĩŎƪĩǛŻţĩĢܒ^ڛڟڞ Cowell declared the United Quartet “an attempt toward a more universal musical style”^ڛڟڟ and a preface to the score explicitly addresses a multicultural ŦŎƪƷĩűĩƢƪʼnŎƟþěƢŻƪƪþŦŦƪŻěŎþŦěŦþƪƪĩƪܣܹůĩƢŎěþűƪ܌/ƿƢŻƟĩþűƪ܌ƢŎĩűƷþŦƪ܌ŻƢʼnŎłʼnĩƢƟƢŎůŎƷŎǛĩƪܗ þűǢĚŻĢǢŁƢŻůþěŻþŦůŎűĩƢƷŻþĚþűţƟƢĩƪŎĢĩűƷܺܤܒ^ڛڟڠ

ڶںڷ Sachs, Henry Cowell܉ ڍڏڕ܏ SƸ ŏƫ ŰżƫƸ ŧŏŤĪŧǣ ƸŊÿƸ żǝĪŧŧ ŊĪÿƣģ /Űŏŧ FƣÿŲƸŏƯĪŤ ǀƣŏÿŲܹƫ ܠڍڕڌڐܨڍڕڑڕܡ ßżŏĜĪěÿŲģ܉

ǝŊŏĜŊ܉ŊżǝĪǜĪƣ܉ǝÿƫżŲŧǣżdzǿĜŏÿŧŧǣłżƣŰĪģŏŲڍڕڎړ܏ żǝĪŧŧģĪƫĜƣŏěĪģǀƣŏÿŲܹƫƠƣÿĜƸŏĜĪƫŏŲڍڕڏڌŏŲŊŏƫÿƣƸŏĜŧĪ

“Vocal Innovators of Europe.”

ڶںڸ ®ĪĪ¦ÿż܉ܶNĪŲƣǣ żǝĪŧŧÿŲģNŏƫ ŊŏŲĪƫĪrǀƫŏĜNĪƣŏƸÿŃĪ܉ܷڍڎڒ܉ڍڏڒ܏

ڶںڹ ŰżŲŃżƸŊĪƣƫ܉ƸŊĪłżŧŧżǝŏŲŃǝżƣŤƫěǣ żǝĪŧŧƣĪłĪƣƸżƫƠĪĜŏǿĜŰǀƫŏĜÿŧƸƣÿģŏƸŏżŲƫ܈SŲģżŲĪƫŏÿ܈Ostinato Pianissimo łżƣƠĪƣĜǀƫƫŏżŲĪŲƫĪŰěŧĪܠڍڕڏڐܡܔSƣĪŧÿŲģ܈Celtic Setłżƣ żŲĜĪƣƸÿŲģܠڍڕڏڔܡܔSƣÿŲ܈Persian Set for chamber orches-ƸƣÿܠڍڕڑڒܨڑړܡܔSŲģŏÿ܈PulsełżƣƠĪƣĜǀƫƫŏżŲĪŲƫĪŰěŧĪܠڍڕڏڕܡ܉®ǣŰƠŊżŲǣŲż܏ݎڍڏܶrÿģƣÿƫܷܠڍڕڑڒܨڑڔܡܔdÿƠÿŲ܈Ongaku łżƣżƣĜŊĪƫƸƣÿܠڍڕڑړ܉ވSS܏ڑ܏ܡ܏ĪƫŏģĪƫƸŊĪUnited Quartet܉ƸŊĪĪǢƠŧŏĜŏƸŧǣܶŰǀŧƸŏܫĪƸŊŲŏĜܷƠŏĪĜĪƫŏŲĜŧǀģĪFour Assorted MovementsłżƣǵŧǀƸĪ܉żěżĪ܉ĜŧÿƣŏŲĪƸ܉ěÿƫƫĜŧÿƣŏŲĪƸ܉ěÿƫƫżżŲ܉ŊżƣŲ܉ÿŲģƠŏÿŲżܠÿģŧŏě܏ܡܠڍڕڏڔܡܞǿƣƫƸŰżǜĪŰĪŲƸ܈

HoedownܔƫĪĜżŲģŰżǜĪŰĪŲƸ܈TaximܔƸŊŏƣģŰżǜĪŰĪŲƸ܈TalaܔłżǀƣƸŊŰżǜĪŰĪŲƸ܈ChoraleܟÿŲģAmerican Melting PotłżƣĜŊÿŰěĪƣżƣĜŊĪƫƸƣÿܠڍڕڐڌܡ܏

ڶںں ܶܞ܊ܟƸŊĪÃŲŏƸĪģ¥ǀÿƣƸĪƸŏƫÿŲÿƸƸĪŰƠƸƸżǝÿƣģÿŰżƣĪǀŲŏǜĪƣƫÿŧŰǀƫŏĜÿŧƫƸǣŧĪ܏ܞ܊ܟ£ƣŏŰŏƸŏǜĪŰǀƫŏĜŏƫƣĪƠƣĪƫĪŲƸܫ Īģ܉ŲżƸěǣŏŰŏƸÿƸŏŲŃŏƸ܉ŲżƣěǣƸÿŤŏŲŃÿƫƠĪĜŏǿĜŰĪŧżģǣżƣƣŊǣƸŊŰłƣżŰƫżŰĪƸƣŏěĪ܉ěǀƸěǣǀƫŏŲŃÿƸŊƣĪĪܫƸżŲĪ ƫĜÿŧĪ܉ÿŲģĪǢŊÿǀƫƸŏŲŃÿŧŧƸŊĪģŏdzłĪƣĪŲƸǝÿǣƫƸŊĪƸŊƣĪĪƸżŲĪƫĜÿŲÿƠƠĪÿƣ܉ǝŊŏĜŊŏƫÿƠƣżĜĪģǀƣĪżłƫżŰĪƠƣŏŰŏƸŏǜĪ ŰǀƫŏĜ܏ܷܠNĪŲƣǣ żǝĪŧŧ܉ŲżƸĪƸżString Quartet no. 4, United Quartet܉tĪǝæżƣŤ܈ ܏F܏£ĪƸĪƣƫ܉ڍڕڒڒ܉ƢǀżƸĪģŏŲ¼ÿǣŧżƣ܉

Beyond Exoticism܉ڍڌڕ܏ܡ

ڶںڻ ܶ¼ŊĪ¥ǀÿƣƸĪƸƫŊżǀŧģŲżƸżŲŧǣěĪĪÿƫǣƸżǀŲģĪƣƫƸÿŲģ܉ǝŏƸŊżǀƸłżŧŧżǝŏŲŃÿŲǣŤŲżǝŲƠÿƸŊǝÿǣ܉ěǀƸŏƸƫŊżǀŧģěĪ ǀŲģĪƣƫƸżżģĪƢǀÿŧŧǣǝĪŧŧěǣŰĪƣŏĜÿŲƫ܉/ǀƣżƠĪÿŲƫ܉ƣŏĪŲƸÿŧƫ܉żƣŊŏŃŊĪƣƠƣŏŰŏƸŏǜĪƫܔěǣÿŲǣěżģǣłƣżŰÿĜżÿŧŰŏŲܫ ĪƣƸżÿěÿŲŤƠƣĪƫŏģĪŲƸ܏¼ŊĪŰÿŏŲƠǀƣƠżƫĪżłŏƸ܉żłĜżǀƣƫĪ܉ŏƫŲżƸŏŲŏƸƫƸĪĜŊŲŏƢǀĪ܉ěǀƸŏŲƸŊĪŰĪƫƫÿŃĪ܉ǝŊŏĜŊ܉żł ĜżǀƣƫĪ܉ŏƫŲżƸƫǀŏƸÿěŧĪłżƣĪǢƠƣĪƫƫŏżŲŏŲǝżƣģƫ܏SƸŰÿǣěĪƫÿŏģƸŊÿƸŏƸĜżŲĜĪƣŲƫŊǀŰÿŲÿŲģƫżĜŏÿŧƣĪŧÿƸŏżŲƫŊŏƠƫ܏

¼ŊĪƸĪĜŊŲŏƢǀĪŏƫłżƣƸŊĪƠǀƣƠżƫĪżłĜżŲǜĪǣŏŲŃƸŊĪŰĪƫƫÿŃĪƸżƸŊĪǝŏģĪŧǣģŏdzłĪƣĪŲƸŏÿƸĪģŃƣżǀƠƫǝŊżŲĪĪģƸżěĪ ǀŲŏƸĪģŏŲƸŊĪƫĪƣĪŧÿƸŏżŲƫŊŏƠƫ܏ܷܠ żǝĪŧŧ܉ܶSŲƸƣżģǀĜƸŏżŲ܉ܷƢǀżƸĪģŏŲtŏĜŊżŧŧƫ܉ܶNĪŲƣǣ żǝĪŧŧܹƫUnited Quartet܉ܷڍڕڕ܏ܡ

/ǡþůƟŦĩڗܘڛܑNĩűƢǢ ŻǜĩŦŦܒAtlantisܒȁƢƪƷůŻǛĩůĩűƷܒůůܘݗږܱږڙ

¼ŎůŻƷʼnǢ¼þǢŦŻƢʼnþƪŎűƷĩƢƟƢĩƷĩĢƷʼnŎƪþƪĩǛŎĢĩűěĩŻŁ ŻǜĩŦŦܼƪƢĩŦþƷŎǛŎƪƷþƟƟƢŻþěʼnƷŻůƿƪŎěþŦ ěƿŦƷƿƢĩƪ܌ŎűƷƿűĩǜŎƷʼnŻþƪܼƪěƿŦƷƿƢþŦƷʼnĩŻƢǢܣދSSܒڐܤܒ^ڛڟڡNŻǜĩǛĩƢ܌ ŻǜĩŦŦʼnĩƢĩůþţĩƪþěŦĩþƢĢŎƪ-tinction between “primitive music” (“represented […] by using a three-tone scale, and exhaust-ŎűłþŦŦƷʼnĩĢŎDzŁĩƢĩűƷǜþǢƪƷʼnĩƷʼnƢĩĩƷŻűĩƪěþűþƟƟĩþƢ܌ǜʼnŎěʼnŎƪþƟƢŻěĩĢƿƢĩŻŁƪŻůĩƟƢŎůŎƷŎǛĩ ůƿƪŎěܺܤ܌ ܹƢŎĩűƷþŦ ůƿƪŎěܺ ܣܹƢĩƟƢĩƪĩűƷĩĢ ĚǢ ůŻĢĩƪ ǜʼnŎěʼn þƢĩ ěŻűƪƷƢƿěƷĩĢ þƪ ƢŎĩűƷþŦ ůŻĢĩƪ þƢĩěŻűƪƷƢƿěƷĩĢ܌ǜŎƷʼnŻƿƷĚĩŎűłþěƷƿþŦůŻĢĩƪƿƪĩĢŎűƟþƢƷŎěƿŦþƢěƿŦƷƿƢĩƪܺܤ܌þűĢܹƷʼnĩůŻĢĩƢűܺ

ܣܹȃĩůŻĢĩƢűŎƪƢĩƟƢĩƪĩűƷĩĢĚǢƷʼnĩƿƪĩŻŁƿűƢĩƪŻŦǛĩĢĢŎƪěŻƢĢƪ܌ĚǢŁƢĩĩŎűƷĩƢǛþŦƪŎűƷǜŻܮƟþƢƷ counterpoint, and by the fact that the whole result is something new, – and all that is new is ůŻĢĩƢű܎ܺܤܒ^ڛڟڢ It becomes clear from this distinction that both Cowell’s cultural relativism as well as his aesthetic universalism are based on those essentialist concepts he had felt at odds with during his days in the Berlin Phonogramm-Archivܒ ȃĩ ŁŻƿƢƷʼn ůŻǛĩůĩűƷ ƟƢĩƪĩűƷŎűł ŎƷƪ three simple layers as “principal melody, countermelody plus drone, and percussive accompa-niment”^ڛڠڙůþţĩƪƷʼnĩƿűƪƟĩěŎȀěĩƷʼnűŎěĚþěţłƢŻƿűĢƟƢŻĚŦĩůþƷŎěþűĢƷĩűĢƪƷŻǜþƢĢþƪƷĩƢĩŻƷǢƟܮ ŎěþŦܹűĩŻܮƟƢŎůŎƷŎǛŎƪůܒܺSűڐژڒڒ ŻǜĩŦŦʼnþĢěŻűěĩŎǛĩĢŻŁƷʼnŎƪƪƷǢŦĩƷʼnĩŻƢĩƷŎěþŦŦǢŎűŻƢĢĩƢƷŻƪĩƷ his approach clearly apart from French and American neoclassicism. Characteristically, Cowell ʼnĩƢĩűþǛŎłþƷĩƪĚĩƷǜĩĩűƪǜĩĩƟŎűłłĩűĩƢþŦŎǬþƷŎŻűƪþűĢþűƷŎܮĩƪƪĩűƷŎþŦŎƪƷþƢłƿůĩűƷƪ܋

tżǝƸŊĪƸŏŰĪŊÿƫĜżŰĪłżƣÿƫƸƣżŲŃŲĪǝĜżǀŲƸĪƣܫŰżǜĪŰĪŲƸ܉łǀŧŧܫěŧżżģĪģÿŲģǜŏƸÿŧ܏¼ŊĪƸĪŲģĪŲ -ĜǣÿŧƣĪÿģǣĪǢŏƫƸƫ܉ÿŲģƫŊżǝƫƫŏŃŲƫżłƫƸĪÿģǣŃƣżǝƸŊ܏SƸƣĪÿĜƸƫÿŃÿŏŲƫƸƸŊĪżǜĪƣܫĜżŰƠŧĪǢŏƸǣżłƸŊĪ ĪÿƣŧŏĪƣŰżģĪƣŲŰǀƫŏĜěǀƸŲżƸÿŃÿŏŲƫƸĪǢƠĪƣŏŰĪŲƸܔÿŃÿŏŲƫƸƸŊĪƫĪŲƸŏŰĪŲƸÿŧŏƸǣÿŲģƠżŰƠżłŧÿƸĪƣ ƣżŰÿŲƸŏĜŰǀƫŏĜěǀƸŲżƸÿŃÿŏŲƫƸłĪĪŧŏŲŃܔÿŃÿŏŲƫƸƸŊĪƫǀƠĪƣĜŏŧŏżǀƫłżƣŰÿŧŏƫŰżłÿƣĪƸǀƣŲƸżƸŊĪƠÿƣ-ƸŏĜǀŧÿƣƫƸǣŧĪżłƫżŰĪƠÿƫƸĜĪŲƸǀƣǣěǀƸŲżƸÿŃÿŏŲƫƸƸŊĪǀƫĪżłƠƣŏŰÿƣǣŰǀƫŏĜÿŧĪŧĪŰĪŲƸƫ܏ܞ܊ܟSƸŏƫ ŲżƸÿŲÿƸƸĪŰƠƸƸżŏŰŏƸÿƸĪƠƣŏŰŏƸŏǜĪŰǀƫŏĜ܉ěǀƸƣÿƸŊĪƣƸżģƣÿǝżŲƸŊżƫĪŰÿƸĪƣŏÿŧƫĜżŰŰżŲƸżƸŊĪ ŰǀƫŏĜżłÿŧŧƸŊĪƠĪżƠŧĪƫżłƸŊĪǝżƣŧģ܉ƸżěǀŏŧģÿŲĪǝŰǀƫŏĜƠÿƣƸŏĜǀŧÿƣŧǣƣĪŧÿƸĪģƸżżǀƣżǝŲĜĪŲ-Ƹǀƣǣ܏ܞ܊ܟrÿŲǣżłƸŊĪĜǀƫƸżŰÿƣǣŃĪŲĪƣÿŧŏǭÿƸŏżŲƫĜÿŲŲżŧżŲŃĪƣěĪŰÿģĪŏŲƸŊĪłÿĜĪżłƸŊŏƫǝŏģĪƣ ŤŲżǝŧĪģŃĪ܏¼ŊĪƣĪŏƫ܉żłĜżǀƣƫĪ܉ŲżÿěżƣŏŃŏŲÿŧŰǀƫŏĜƸżěĪłżǀŲģÿŲǣǝŊĪƣĪǝŊŏĜŊĜżƣƣĪƫƠżŲģƫƸż ƸŊĪĜżŰŰżŲĜżŲĜĪƠƸŏżŲżłÿŲǀŲĜżŲƸƣżŧŧĪģĪǢƠƣĪƫƫŏżŲżłǝŏŧģ܉ǀŲěƣŏģŧĪģ܉ƫÿǜÿŃĪłĪĪŧŏŲŃ܏tżƣ ĜÿŲƠƣŏŰŏƸŏǜĪŰǀƫŏĜěĪŧǀŰƠĪģŏŲƸżżŲĪŃƣżǀƠ܏¼ŊĪŰǀƫŏĜżłǜÿƣŏżǀƫƸƣŏěĪƫŏƫÿƫģŏdzłĪƣĪŲƸÿƫƸŊĪ ŰǀƫŏĜżłƸŊĪǜÿƣŏżǀƫĜǀŧƸŏǜÿƸĪģŲÿƸŏżŲƫ܏ܞ܊ܟ

NżǝĪǜĪƣƸŊĪƣĪÿƣĪƫżŰĪŃĪŲĪƣÿŧĜŊÿƣÿĜƸĪƣŏƫƸŏĜƫǝŊŏĜŊŲĪÿƣŧǣÿŧŧƠƣŏŰŏƸŏǜĪŰǀƫŏĜƫŊÿƣĪƫ܏rżƫƸżł ŏƸŏƫƫǀŲŃƸżƸŊĪÿĜĜżŰƠÿŲŏŰĪŲƸżłƠĪƣĜǀƫƫŏżŲܔŰĪŧżģǣÿŲģƣŊǣƸŊŰÿƣĪƸŊǀƫƸŊĪŰÿŏŲĪŧĪŰĪŲƸƫ܏

àŊĪƣĪƫĪǜĪƣÿŧģŏdzłĪƣĪŲƸǜżŏĜĪƫƫŏŲŃƸżŃĪƸŊĪƣƸŊĪǣÿƣĪĪŏƸŊĪƣŏŲǀŲŏƫżŲżƣŊĪƸĪƣżƠŊżŲŏĜ܉ŰÿŤŏŲŃ ÿłƣĪĪƠżŧǣƠŊżŲǣŏŲǝŊŏĜŊĪÿĜŊƠÿƣƸŏƫƢǀŏƸĪŏŲģĪƠĪŲģĪŲƸĪǢĜĪƠƸƸŊÿƸŏƸŰǀƫƸĜżŰĪżǀƸǝŏƸŊƸŊĪ żƸŊĪƣƫÿƸƸŊĪĪŲģ܏FǀƣƸŊĪƣ܉ŲĪÿƣŧǣÿŧŧƠƣŏŰŏƸŏǜĪŰǀƫŏĜŊÿƫƣÿƠŏģƣŊǣƸŊŰŏĜÿŧĜŊÿŲŃĪƫ܉ƫǣŲĜżƠÿƸŏżŲƫ܉

ƠżŧǣƣŊǣƸŊŰƫÿŲģĜƣżƫƫܫƣŊǣƸŊŰƫ܏SŲƸŊĪŰĪŧżģǣƸŊĪƣĪŰÿǣěĪÿǝŏģĪƣÿŲŃĪżłģŏdzłĪƣĪŲƸƫżƣƸƫżł ƠŏƸĜŊĜǀƣǜĪƫÿƫǝĪŧŧÿƫƫƸƣÿŏŃŊƸŧŏŲĪƫżłƫżǀŲģ܏¼ŊĪƸżŲĪƫĪŏƸŊĪƣǝÿěěŧĪěÿĜŤÿŲģłżƣƸŊżƣƫŧŏģĪǀƠ żƣģżǝŲܨŲżƸĜÿƣĪŧĪƫƫŧǣ܉ěǀƸÿƫÿǜŏƸÿŧƠÿƣƸżłƸŊĪŰǀƫŏĜÿŧƫĜŊĪŰĪ܏^ژڝڗ

Cowell detailed his perspectives on the relationship between traditional and contemporary music in many further essays and statements that have been scrutinized in the dissertation ĚǢ /Ʒʼnþű hĩěʼnűĩƢ ŁƢŻů ڑڏڏڗܒ hĩěʼnűĩƢ ěŻűȀƢůƪ ƷʼnþƷ ŻǜĩŦŦܼƪ þƟƟƢŻþěʼn ƷŻ űŻűܮàĩƪƷĩƢű ůƿ-ڶںڼ ¼ÿǣŧżƣ܉Beyond Exoticism܉ڍڌڒܨڍڌڔ܏

ڶںڽ ŧŧƢǀżƸÿƸŏżŲƫłƣżŰ żǝĪŧŧ܉ŲżƸĪƸż String Quartet no. 4ܠƫĪĪłżżƸŲżƸĪڎڒڒܡ܏

ڶڻڴ tŏĜŊżŧŧƫ܉ܶ¼ƣÿŲƫĪƸŊŲŏĜŏƫŰÿŲģƸŊĪŰĪƣŏĜÿŲ/ǢƠĪƣŏŰĪŲƸÿŧ¼ƣÿģŏƸŏżŲ܉ܷڑړڏ܏

ڶڻڵ żǝĪŧŧ܉ܶ¼żǝÿƣģƫtĪżܫ£ƣŏŰŏƸŏǜŏƫŰ܉ܷڍڑڌܨڍڑڍ܏

sics was still shaped by an evolutionary concept distinguishing between “primitive cultures”

þűĢܹěŎǛŎŦŎǬþƷŎŻűƪ܌ܺþűĢĚĩƷǜĩĩűĢŎDzŁĩƢĩűƷƪƷþłĩƪŻŁܹĢĩǛĩŦŻƟůĩűƷܺþěʼnŎĩǛĩĢŎűĢŎDzŁĩƢĩűƷěƿŦ-tures.^ڛڠڛtŻƷþĚŦǢ܌ƷʼnŎƪěŻűěĩƟƷĢŎĢűŻƷěŻűěĩŎǛĩŻŁàĩƪƷĩƢűěƿŦƷƿƢĩŻƢůƿƪŎěþƪƷʼnĩŁƿŦȀŦŦůĩűƷ ŻŁ þű ĩǛŻŦƿƷŎŻűþƢǢ ƟƢŻěĩƪƪ Ěĩěþƿƪĩ àĩƪƷĩƢű ůƿƪŎě܌ þěěŻƢĢŎűł ƷŻ ŻǜĩŦŦ܌ ƟþƢƷŎěƿŦþƢŦǢ ŦþěţĩĢ ƢʼnǢƷʼnůŎěþűĢůĩŦŻĢŎěƢĩȀűĩůĩűƷܒ®ƷŎŦŦ܌ŎƷǜþƪƪƿĚƪƷþűƷŎþƷĩĢĚǢ þƟŻƪŎƷŎǛŎƪƷŎěěŻůƟŻƪŎƷŎŻűþŦ and scholarly concept of music consisting of discrete, analyzable “elements” that might be ƷƿƢűĩĢŎűƷŻܹƢĩƪŻƿƢěĩƪܺŁŻƢěŻůƟŻƪĩƢƪܒȃĩěŻůƟŻƪĩƢþƪþơƿþƪŎܮƪěŎĩűƷŎȀěĩǡƟĩƢŎůĩűƷĩƢǜþƪ free to use and combine these resources into a new universalist model of a “music of many cultures.” Such naïve openness and the straightforward goal of its audience-friendly compo-ƪŎƷŎŻűþŦƢĩþŦŎǬþƷŎŻűǜŻƿŦĢĚĩěŻůĩŎűěƢĩþƪŎűłŦǢĩǡƟŦŎěŎƷŎű ŻǜĩŦŦܼƪŻƿƷƟƿƷŁƢŻůƷʼnĩڐژڒڏƪŻű܌

ĩǛĩűƷƿþŦŦǢůþţŎűłʼnŎůƷʼnĩŎĢĩþŦěŻůƟŻƪĩƢŁŻƢƷʼnĩůĩƢŎěþűěƿŦƷƿƢþŦƟŻŦŎƷŎěƪŻŁƷƢþűƪěƿŦƷƿƢþŦ ƿűŎǛĩƢƪþŦŎƪůĢƿƢŎűłƷʼnĩ ŻŦĢàþƢƟĩƢŎŻĢܣދSSܒڔܤܒ

OšÑ§œƒšœ9œÈÃ˧ËÀœv®ˆ$Ë­œ³(vâvÃv§vƝŒÈ܌Œ®9³ˆŒÀ®œÈâv®ˆ:vȜ³®v¨œÃ­

®ǜŎƷěʼnŎűł Ʒʼnĩ łĩŻłƢþƟʼnŎěþŦ þűĢ ƪŻěŎŻěƿŦƷƿƢþŦ ěŻűƷĩǡƷ ƷŻ ڐژڑڏƪ þűĢ ڐژڒڏƪ dþƟþű܌ Ʒʼnĩ ĢŎDzŁĩƢܮ ĩűěĩƪþƢĩŻĚǛŎŻƿƪܒǢƷʼnĩĩþƢŦǢڐژڒڏƪ܌àĩƪƷĩƢűܮŻƢŎĩűƷĩĢůƿƪŎěþŦŎűƪƷŎƷƿƷŎŻűƪþűĢůƿƪŎěþŦŦŎŁĩ in Japan had reached considerable standards, an outcome of roughly sixty years of radical and all-encompassing modernization and Westernization programs since the Meiji restauration Ŏű ڐڗڕڗ ܣދݑ SSSܒڐܤܒ àĩƪƷĩƢűŎǬþƷŎŻű ǜþƪ űŻƷ ŻűŦǢ ƟƢĩǛþŦĩűƷ Ŏű ǢƔłþţƿ, Western-oriented cham-ber and orchestral music written by Japanese composers, but also in ʼnƔłþţƿ, traditional Japa- nese music. While these two segments of Japanese music were largely isolated from each other ƿűƷŎŦƷʼnĩŦþƷĩڐژڑڏƪ܌þƷƷĩůƟƷƪþƷěŻűǛĩƢłĩűěĩþƢŻƪĩŎűƷʼnĩĩþƢŦǢڐژڒڏƪ܌űŻƷŦĩþƪƷŎűþƢĩƪƟŻűƪĩƷŻ Michio Miyagi’s Etenraku Variations ǜŎƷʼn þű ŻƢěʼnĩƪƷƢþŦ þƢƢþűłĩůĩűƷ ĚǢ NŎĢĩůþƢŻ þűĢ tþŻܮ maro Konoe, an adaptation of the most famous piece from gagaku court music, performed dur-ŎűłƷʼnĩĩűƷʼnƢŻűĩůĩűƷěĩƢĩůŻűŎĩƪŻŁƷʼnĩűĩǜ®ʼnŻǜþĩůƟĩƢŻƢŎűڐژڑڗܒ^ڛڠڜ

ȃŎƪ ƢþƟƟƢŻěʼnĩůĩűƷ ƪʼnŻƿŦĢ þŦƪŻ Ěĩ ǛŎĩǜĩĢ Ŏű Ʒʼnĩ ěŻűƷĩǡƷ ŻŁ þű ŎűěƢĩþƪŎűłŦǢ ŻĚǛŎŻƿƪ űþ-tionalist tide in Japanese politics, escalating in the occupation of the Manchuria peninsula in ڐژڒڐܒŦƷʼnŻƿłʼněŻůƟŻƪĩƢƪܼłƢŻƿƟƪŻŁƷʼnĩĩþƢŦǢڐژڒڏƪ܌ƪƿěʼnþƪƷʼnĩ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎ(Fe-ĢĩƢþƷŎŻűŻŁSűűŻǛþƷŎǛĩ ŻůƟŻƪĩƢƪܤ܌ŁŻƿűĢĩĢŎű¼ŻţǢŻŎűڐژڒڏ܌þűĢƷʼnĩShin ongaku renmeiܣtĩǜ rƿƪŎěFĩĢĩƢþƷŎŻűܤ܌ŁŻƿűĢĩĢŎű®þƟƟŻƢŻŎűڐژڒړ܌ĢŎĢűŻƷƟƿƢƪƿĩĩǡƟŦŎěŎƷƟŻŦŎƷŎěþŦþłĩűĢþƪ܌ƷʼnĩŎƢ common objective was to qualitatively change the integration of Japanese musical traditions into contemporary music. As Stefan Menzel has demonstrated, the compositional scene had ĚĩĩűůŻűŻƟŻŦŎǬĩĢŁþƢŎűƷŻƷʼnĩڐژڑڏƪĚǢfƔƪþţƿæþůþĢþܣڐڗڗڔܫڐژڕڒܤ܌ǜʼnŻ܌þƷƷʼnĩþłĩŻŁڑژ܌ʼnþĢ ƢĩƷƿƢűĩĢ ƷŻ dþƟþű Ŏű ڐژڐړ þǼƷĩƢ ŁŻƿƢ ǢĩþƢƪ ŻŁ ƪƷƿĢǢ Ŏű ĩƢŦŎű ܣދ SSSܒڐܤܒ^ڛڠڝ ƢŎĩűƷĩĢ ƷŻǜþƢĢ ¦Ŏ-ěʼnþƢĢ®ƷƢþƿƪƪܼƪƪƷǢŦĩ܌æþůþĢþǜƢŻƷĩƷʼnĩȀƢƪƷdþƟþűĩƪĩŻƟĩƢþ(ěʼnŎƷþƢƿƷĩűűǢŻ܌ڐژڐڒ܌ƟƢĩůŎĩƢĩĢ Ŏűڐژڑژܤ܌ƷʼnĩȀƢƪƷdþƟþűĩƪĩƪǢůƟʼnŻűǢܣ®ǢůƟʼnŻűǢŎűFůþŠŻƢܹ£ĩþěĩþűĢàþƢ܌ܺڐژڐڑ܌ƟƢĩůŎĩƢĩĢ Ŏűڐژڐړܤ܌þűĢƷʼnĩȀƢƪƷdþƟþűĩƪĩƪǢůƟʼnŻűŎěƟŻĩůܣKurai to܌ڐژڐڒܗƟƢĩůŎĩƢĩĢŎűڐژڐڗܤܒ¦ĩŦǢŎűłŻű łĩűĩƢŻƿƪŁƿűĢŎűłŁƢŻůƷʼnĩrŎƷƪƿĚŎƪʼnŎěŻƢƟŻƢþƷŎŻű܌æþůþĢþǜþƪěĩűƷƢþŦŎűƷʼnĩŁŻƿűĢŎűłþűĢ ĢĩǛĩŦŻƟůĩűƷŻŁůƿƪŎěþŦŎűƪƷŎƷƿƷŎŻűƪ܌űþůĩŦǢƷʼnĩ£ʼnŎŦʼnþƢůŻűŎ쮯ěŎĩƷǢ¼ŻţǢŻܣŁŻƿűĢĩĢŎűڐژڐڏܤ܌

ƷʼnĩdþƟþűĩƪĩ®ǢůƟʼnŻűǢƢěʼnĩƪƷƢþܣڐژڑڒܤ܌þűĢƟþƢƷŎěƿŦþƢŦǢƷʼnĩtĩǜ®ǢůƟʼnŻűǢƢěʼnĩƪƷƢþܣShin ţƔţǢƔłþţƿĢþűܤƷŻłĩƷʼnĩƢǜŎƷʼnƷʼnĩŎűǴ ŦƿĩűƷŎþŦěŻűĢƿěƷŻƢNŎĢĩůþƢŻfŻűŻĩŎűڐژڑڕܒȃĩtĩǜ®Ǣů-ƟʼnŻűǢƢěʼnĩƪƷƢþǜþƪěƢƿěŎþŦŎűƟĩƢŁŻƢůŎűłűĩǜŻƢěʼnĩƪƷƢþŦǜŻƢţƪĚǢdþƟþűĩƪĩěŻůƟŻƪĩƢƪŻǛĩƢ ڶڻڶ hĪĜŊŲĪƣ܉ܶ żŰƠżƫĪƣƫÿƫ/ƸŊŲżŃƣÿƠŊĪƣƫ܉ܷڍڍڌܨڍړڒ܏

ڶڻڷ Menzel, NƕŃÿŤǀ܉ڍڍړܨڍڍڕ܏

ڶڻڸ Sěŏģ܏܉ڍڌڐܨڍڌڔ܏

the decades that followed.^ڛڠڞƷƷʼnĩƪþůĩƷŎůĩ܌æþůþĢþěŻůƟŻƪĩĢþŦþƢłĩűƿůĚĩƢŻŁƪŻűłƪܣʼnŎƪ ƷŻƷþŦŻƿƷƟƿƷþůŻƿűƷƪƷŻŻǛĩƢڐ܌ڐڏڏܤ܌ƷʼnĩŁþǛŻƢŎƷĩłĩűƢĩŻŁdþƟþűĩƪĩěŻůƟŻƪĩƢƪƿƟƷŻƷʼnĩڐژړڏƪܒ^ڛڠڟ ǢƷʼnĩĩþƢŦǢڐژڑڏƪ܌ěĩƢƷþŎűƷŻƟŻŎŻŁþܹdþƟþűĩƪĩʼnþƢůŻűǢܺʼnþĢĢĩǛĩŦŻƟĩĢ܌ƟþƢƷŎěƿŦþƢŦǢŎűŁŻŦţ ƪŻűłƪĩƷƷŎűłƪĚǢæþůþĢþþűĢŻƷʼnĩƢěŻůƟŻƪĩƢƪƪƿěʼnþƪfŎǢŻůŎFƿŠŎŎܣڐڗژژܫڐژړړܤ܌ŎűěŦƿĢŎűłƷʼnĩ prominent use of the half-diminished seventh chord in connection to the ůŎǢþţŻĚƿƪʼnŎ scale and ʼnþƢůŻűŎĩƪĚþƪĩĢŻűƪƷþěţĩĢŁŻƿƢƷʼnƪþűĢȀǼƷʼnƪ܌ĩůĩƢłŎűłŁƢŻůƟĩűƷþƷŻűŎěƪěþŦĩƪ܌þƪǜĩŦŦþƪþ ŁƢĩơƿĩűƷĩǛŻěþƷŎŻűŻŁFƢĩűěʼnůƿƪŎěĚǢ'ĩĚƿƪƪǢ܌¦þǛĩŦ܌þűĢƷʼnĩŎƢěŻűƷĩůƟŻƢþƢŎĩƪܒ^ڛڠڠ

ȃĩ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎ܌ŁŻƿűĢĩĢĚǢƪŎǡƷĩĩűǢŻƿűłůƿƪŎěþƢƷŎƪƷƪþłĩĢĚĩƷǜĩĩűڑڒþűĢ ڒړܣĩŦĩǛĩűěŻůƟŻƪĩƢƪ܌ŁŻƿƢůƿƪŎěŎþűƪ܌þűĢŻűĩěƢŎƷŎě^ڛڠڡܤŁƢŻůĢŎDzŁĩƢŎűłĚþěţłƢŻƿűĢƪ܌þŎůĩĢƷŻ reach beyond such conventional limitations, adopting the term ƪʼnŎűţƔ (lit. “rising,” “innova- ƷŎǛĩܺܤǜʼnŎěʼnŎűƷʼnĩŦþƷĩڐژڑڏƪʼnþĢƢĩƟŦþěĩĢbunmei ܣܹěŎǛŎŦŎǬþƷŎŻűܺܤþƪþłƿŎĢŎűłƟƢŎűěŎƟŦĩŎűdþƟþ-nese cultural discourse.^ڛڠڢ űĩŻŁƷʼnĩŁŻƢĩůŻƪƷěŻűěĩƢűƪŻŁƷʼnĩłƢŻƿƟǜþƪƷŻĩƪƷþĚŦŎƪʼnþűܹþűƷŎ-ƷʼnĩƪŎƪܺƷŻƷʼnĩĢŻůŎűþűƷGĩƢůþűܮƪƷǢŦĩěŻůƟŻƪŎƷŎŻűŻŁƷʼnĩƷŎůĩ܌ůþŎűŦǢƢĩƟƢĩƪĩűƷĩĢĚǢæþůþĢþܒ In addition, it seems that the association was conceived in opposition to the 'þŎűŎʼnŻűƪþţţǢŻ-ţƿţþţǢƔţþŎܣGƢĩþƷdþƟþűĩƪĩƪƪŻěŎþƷŎŻűŻŁ ŻůƟŻƪĩƢƪܤ܌ŁŻƿűĢĩĢŎűڐژڑڔ܌ŎűǜʼnŎěʼněŻůƟŻƪĩƢƪ of popular and children’s songs assembled (as elsewhere in the world, popular music reached þűŎűŎƷŎþŦƟĩþţŎűdþƟþűĢƿƢŎűłƷʼnĩڐژڑڏƪĢƿĩƷŻƷʼnĩþĢǛĩűƷŻŁƷʼnĩƢĩěŻƢĢŎűłŎűĢƿƪƷƢǢܤܒ^ڛڡڙ In its beginnings, ®ʼnŎűţƔ ƪþţţǢŻţƿţþ ƢĩűůĩŎ was associated with the concept of “avant-garde” that was concurrently imported into culture-related discourse, translated as Ǭĩű݂ĩŎor transliterated as þǛþűƷłǢþƢĢŻ.^ڛڡښ Although all composers of the group were oriented toward recent musical ĢĩǛĩŦŻƟůĩűƷƪŎű/ƿƢŻƟĩ܌ŎƷǜþƪŻűŦǢtŻĚŻƢƿSƷŻܣڐژڏڒܫڐژژڒܤǜʼnŻþěƷƿþŦŦǢĩůƟŦŻǢĩĢƪƿěʼnŁĩþ-ƷƿƢĩƪþƪơƿþƢƷĩƢƷŻűĩƪþűĢƟŻŦǢƷŻűþŦŎƷǢĚǢƷʼnĩĩþƢŦǢڐژڒڏƪܗŎűڐژڒڒʼnĩǜƢŻƷĩþűþƢƷŎěŦĩĩűƷŎƷŦĩĢ

ܹ¼ŻůŻƢƢŻǜܼƪrƿƪŎěܺ ŻűƢĩěĩűƷ/ƿƢŻƟĩþűƷƢĩűĢƪ܌ŎűěŦƿĢŎűłĢŻĢĩěþƟʼnŻűǢܒ^ڛڡڛ

Musical innovation was such an important objective of ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎ that it was ĩǛĩűěŻĢŎȀĩĢŎűŁŻƿƢłƿŎĢĩŦŎűĩƪŻŁƷʼnĩþƪƪŻěŎþƷŎŻűƷʼnþƷƿƢłĩĢƷʼnĩůĩůĚĩƢƪƷŻܣڐܤƿƪĩƪěþŦĩƪþűĢ ůŻĢĩƪŁƢŻůܣdþƟþűĩƪĩܤƷƢþĢŎƷŎŻűþŦůƿƪŎě܌ܣڑܤĢĩǛĩŦŻƟƷŻűþŦƪǢƪƷĩůƪŻƢŎĩűƷĩĢƷŻǜþƢĢƷʼnĩơƿþƢƷþŦ

ڶڻڹ Ibid., 105.

ڶڻں ®ĪĪGżƸƸƫĜŊĪǝƫŤŏ܉ܸܶ£żĪƫŏĪǀŲģrǀƫŏŤ܉ܹܷڏڔڌ܏

ڶڻڻ £ÿĜǀŲ܉ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ®ƸǣŧĪŏŲSŲƸĪƣǝÿƣæƕŃÿŤǀ܉ܷڎڐܨڎڑ܏

ڶڻڼ hĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڏڔܨڏڕ܏¼ŊĪłżǀŲģŏŲŃŰĪŰěĪƣƫǝĪƣĪfǀŲŏܫ ŊŏŤżNÿƫŊŏŰżƸżܠڍڕڌڐܨڍڕڐڕܡ܉æǀǭǀƣǀSŤĪܠڍڕڌڎܨڍڕڕڌܡ܉GżƣƕSƫŊŏŏܠڍڕڌڕܨڍڕڕڌܡ܉tżěżƣǀSƸżܠڍڕڌڏܨڍڕڕڏܡ܉æÿƫǀšŏ fŏǣżƫĪܠڍڕڌڌܨڍڕڔڍܡ܉NĪŏŃżƣƕfżŰÿƸƫǀܠڍڔڕړܨڍڕڑڏܡ܉fŏǣżƫŊŏfżŰÿƸƫǀܠڍڔڕڕܨڍڕړڑܡ܉æżƣŏƸƫǀŲĪrÿƸƫǀģÿŏƣÿܠڍڕڌړܨ ڎڌڌڍܡ܉®ŊǖŤŏĜŊŏrŏƸƫǀŤǀƣŏܠڍڔڕڑܨڍڕړڍܡ܉rĪŏƣƕ®ǀŃÿǝÿƣÿܠڍڔڕړܨڍڕڔڔܡ܉ÿŲģtÿżƸÿģÿæÿŰÿŰżƸżܠڍڕڌڐܨڍڕڒڑܡܔƸŊĪ ĜƣŏƸŏĜfÿŰĪƫǀŤĪ®ŊŏżŏƣŏܠڍڕڌڌܨڍڕڏڔܡܔƸŊĪƠŏÿŲŏƫƸƫNÿŤǀšŏƣƕfżŲģƕܠڍڕڌڌܨڍڕڏڎܡÿŲģfƕŤŏĜŊŏŏģÿܠڍڕڌڎܨڍڕڒڐܡܔ ƸŊĪĜĪŧŧŏƫƸÿŲģĜżŲģǀĜƸżƣNŏģĪż®ÿŏƸƕܠڍڕڌڎܨڍڕړڐܡܔÿŲģƸŊĪĜĪŧŧŏƫƸFǀŰŏż®ǀǭǀŤŏܠڍڕڌڌܨڍڕڐڑܡ܏ܶ¼ŊĪģŏǜŏƫŏżŲŏŲƸż ĜżŰƠżƫĪƣƫÿŲģƠĪƣłżƣŰĪƣƫǝÿƫ܉ŊżǝĪǜĪƣ܉żƣŏŃŏŲÿŧŧǣŲżƸƸŊÿƸƫƸƣŏĜƸܔÿŧƸŊżǀŃŊŧŏƫƸĪģÿƫŰǀƫŏĜŏÿŲƫŊĪƣĪ܉ŏģÿ܉

®ÿŏƸƕ܉ÿŲģ®ǀǭǀŤŏĜżŰƠżƫĪģƫżŰĪǝżƣŤƫÿƸƸŊĪĪÿƣŧǣƫƸÿŃĪƫżłƸŊĪŏƣĜÿƣĪĪƣƫ܏ŲģǜŏĜĪǜĪƣƫÿ܈ƠƣÿĜƸŏĜÿŧŧǣÿŧŧĜżŰ-ƠżƫĪƣƫǝĪƣĪÿŧƫżŰǀƫŏĜŏÿŲƫżƣĜżŲģǀĜƸżƣƫ܏ܷܠŧěŏģ܏܉ڏڕ܏ܡ

ڶڻڽ Galliano, æƕŃÿŤǀ܉ڒڒܨړڏ܉ړڕܨڔڎ܏

ڶڼڴ Menzel, NƕŃÿŤǀ܉ڍڍڑܨڍڍڒ܏

ڶڼڵ Galliano, æƕŃÿŤǀ܉ڔڔ܏

ڶڼڶ Sěŏģ܏܉ړڔ܏SŲڍڕڏڐ܉tżěżƣǀSƸżÿŲģGżƣƕSƫŊŏŏłżǀŲģĪģƸŊĪShin ongaku haܠtĪǝrǀƫŏĜGƣżǀƠܡ܉ĪǜŏģĪŲƸŧǣěĪĜÿǀƫĪ ƸŊĪƫǀƠƠżƣƸłżƣƸŊĪŏƣܶÿǜÿŲƸܫŃÿƣģŏƫƸܷŏģĪÿƫǝŏƸŊŏŲ®ŊŏŲŤƕƫÿŤŤǣżŤǀŤÿƣĪŲŰĪŏǝÿƫŧŏŰŏƸĪģ܏ŲżƸŊĪƣŃƣżǀƠłżǀŲģܫ Īģ ģǀƣŏŲŃ ƸŊÿƸ ƠĪƣŏżģ ǝÿƫPrometeo܉ ƫƸÿƣƸĪģ ŏŲ ڍڕڏړ ěǣ ®Ŋŏƣƕ FǀŤÿŏ ܠڍڕڌړܨڍڕڑڕ܉ ŧŏŤĪ SƸż ÿ ƫƸǀģĪŲƸ żł rĪŏƣż

®ǀŃÿǝÿƣÿܡ܉łżĜǀƫŏŲŃżŲƸŊĪƣĪĜĪƠƸŏżŲżłƣĪĜĪŲƸ/ǀƣżƠĪÿŲŰǀƫŏĜ܉ŰÿŏŲŧǣFƣĪŲĜŊŲĪżĜŧÿƫƫŏĜŏƫŰ܏FǀŤÿŏĜƣŏƸŏĜŏǭĪģ ŲÿƸŏżŲÿŧŏƫƸƸĪŲģĪŲĜŏĪƫŏŲdÿƠÿŲÿŲģÿƣŃǀĪģƸŊÿƸܶdÿƠÿŲĪƫĪĜżŰƠżƫĪƣƫƫŊżǀŧģŏŰŰĪƣƫĪƸŊĪŰƫĪŧǜĪƫĜżŰƠŧĪƸĪŧǣ ÿŲģǀŲƣĪƫĪƣǜĪģŧǣŏŲƸŊĪ/ǀƣżƠĪÿŲƸƣÿģŏƸŏżŲܷܠŏěŏģ܏܉ړڕܡ܏

harmonies of the mouth organ (ƪʼnƔܤŎűgagaku܌ܣڒܤĢĩǛĩŦŻƟʼnĩƷĩƢŻƟʼnŻűŎěƷĩǡƷƿƢĩƪŎűƪƟŎƢĩĢĚǢƷʼnĩ traditional chamber music genres ƪþűţǢŻţƿ and jiuta܌þűĢܣړܤůþţĩěƢĩþƷŎǛĩƿƪĩŻŁŎűƪƷƢƿůĩűƷþŦ

“colors.”^ڛڡڜƟþƢƷŁƢŻůƷʼnĩƢĩůþƢţþĚŦĩŁþěƷƷʼnþƷþʼnĩƷĩƢŻłĩűĩŻƿƪłƢŻƿƟŻŁěŻůƟŻƪĩƢƪǜþƪǜŎŦŦŎűł to agree on such a detailed compositional program,^ڛڡڝ the four guidelines can also be read as þ ěƢŎƷŎěŎƪů ŻŁ Ʒʼnĩ ŦŎůŎƷĩĢ ůĩþűƪ ĢĩƟŦŻǢĩĢ Ŏű Ʒʼnĩ ůƿƪŎě ŻŁ ĩƪƷþĚŦŎƪʼnĩĢ ěŻůƟŻƪĩƢƪ ŦŎţĩ æþůþ-Ģþ܌fƔƪƿţĩfŻůþƷƪƿܣڐڗڗړܫڐژڕڕܤ܌þűĢ®ʼnŎűƟĩŎtþţþǢþůþܣڐڗڗږܫڐژڔڑܤܫþŦƷʼnŻƿłʼnæþůþĢþƪŻŻű ƪʼnþƢĩĢƷʼnĩłƢŻƿƟܼƪþŎůƪþűĢĚĩěþůĩþůĩůĚĩƢŎűڐژڒڑܒ^ڛڡڞSƷŎƪŦŎţĩŦǢƷʼnþƷ®ʼnǕţŎěʼnŎrŎƷƪƿţƿƢŎ ܣڐڗژڔܫڐژږڐܤ܌þƪƷʼnĩŻŦĢĩƪƷŁŻƿűĢŎűłůĩůĚĩƢ܌ʼnþĢþěŻűƪŎĢĩƢþĚŦĩŎűǴ ŦƿĩűěĩŻűŁŻƢůƿŦþƷŎűłƷʼnĩƪĩ łƿŎĢĩŦŎűĩƪܗʼnŎƪǜŻƢţƪŻŁƷʼnĩƪþůĩƟĩƢŎŻĢ܌ŎűƟþƢƷŎěƿŦþƢʼnŎƪƪŻűłěǢěŦĩþƪʼnƔţŎţŻƪʼnǕŁƢŻůڐژڒڏܘڒڐ܌

ěþűĚĩěŻűƪŎĢĩƢĩĢþěŻůƟŻƪŎƷŎŻűþŦĩǡĩůƟŦŎȀěþƷŎŻűŻŁůŻƪƷŻŁƷʼnĩƪĩłƿŎĢĩŦŎűĩƪܣƪĩĩĚĩŦŻǜܤܒ^ڛڡڟ SűڐژڒڔƷʼnĩƪŻěŎĩƷǢƢĩűþůĩĢŎƷƪĩŦŁNihon gendai ƪþţţǢŻţƿţþƢĩűůĩŎ (Federation of Contempo-ƢþƢǢdþƟþűĩƪĩ ŻůƟŻƪĩƢƪܤþűĢĩǡƟþűĢĩĢěŻűƪŎĢĩƢþĚŦǢܗƷʼnþűţƪƷŻƷʼnĩĩDzŁŻƢƷƪŻŁrŎƷƪƿţƿƢŎþűĢ

®þĚƿƢƔrŻƢŻŎܣڐژڏڒܫڐژږږܤ܌ŎƷŠŻŎűĩĢƷʼnĩSűƷĩƢűþƷŎŻűþŦ®ŻěŎĩƷǢŁŻƢ ŻűƷĩůƟŻƢþƢǢrƿƪŎěŎűƷʼnĩ same year,^ڛڡڠƢĩƟƢĩƪĩűƷŎűłdþƟþűþƷƷʼnĩS® rŁĩƪƷŎǛþŦƪŎűڐژڒږŎű£þƢŎƪþűĢŎűڐژڒژŎűàþƢƪþǜ þűĢfƢþţŻǜܒȃŎƪěŻűƪŎĢĩƢþĚŦǢŎűěƢĩþƪĩĢŎűƷĩƢűþƷŎŻűþŦþǜþƢĩűĩƪƪŻŁěŻůƟŻƪĩƢƪŁƢŻůdþƟþűܒ^ڛڡڡ

While the ISCM membership made Japanese composers part of an international community, ƷʼnĩŁĩĢĩƢþƷŎŻűܼƪŎűǛŎƷþƷŎŻűŻŁŎűƷĩƢűþƷŎŻűþŦěŻůƟŻƪĩƢƪƷŻdþƟþűĚĩŁŻƢĩڐژڒڔǜþƪþƢłƿþĚŦǢĩǛĩű ůŻƢĩŎůƟŻƢƷþűƷŁŻƢƪƷǢŦŎƪƷŎěĢĩǛĩŦŻƟůĩűƷƪǜŎƷʼnŎűdþƟþű܋ǜʼnŎŦĩŦĩǡþűĢƢĩ¼þűƪůþűܼƪܣڐڗژږܫڐژڗڕܤ ǛŎƪŎƷƷŻdþƟþűŎűrþƢěʼnڐژڒڒƟƢŻĚþĚŦǢŻűŦǢʼnþĢþŦŎůŎƷĩĢĩDzŁĩěƷܣþƪŻűƷʼnĩǢŻƿűłæŻƢŎƷƪƿűĩrþƷƪƿܮ ĢþŎƢþ܌ ڐژڏږܫڑڏڏڐ܌ ǜʼnŻ ŻĚǛŎŻƿƪŦǢ þĢŻƟƷĩĢ Ʒʼnĩ ƟƢŎűěŎƟŦĩ ŻŁ ƷƢŎƷŻűĩܮƢĩŦþƷĩĢ ʼnþƢůŻűŎĩƪ ŁƢŻů

¼þűƪůþű^ڛڡڢܤ܌ƷʼnĩŎůƟþěƷŻŁŦĩǡþűĢĩƢ¼ěʼnĩƢĩƟűŎűܼƪܣڐڗژژܫڐژږږܤŁƢĩơƿĩűƷǛŎƪŎƷƪŎűƷʼnĩůŎĢܮڐژڒڏƪ ܣڐژڒړܘڒڔܤ ǜþƪ ƪƿĚƪƷþűƷŎþŦ þűĢ ŦŻűłܮŦþƪƷŎűł܌ ŦŎţĩ ʼnŎƪ ŎůƟþěƷ Ŏű ʼnŎűþ ĢƿƢŎűł Ʒʼnĩ ƪþůĩ ƟĩƢŎŻĢ ܣދSSSܒڐܤܒţŎƢþSŁƿţƿĚĩܣڐژڐړܫڑڏڏڕܤþűĢæþƪƿŠŎfŎǢŻƪĩܣڐژڏڏܫڐژڗڐܤƷŻŻţěŻůƟŻƪŎƷŎŻűŦĩƪƪŻűƪǜŎƷʼn

¼ěʼnĩƢĩƟűŎű܌ǜʼnŻůŻƷŎǛþƷĩĢƷʼnĩůƷŻƢĩůþŎűŎűĢĩƟĩűĢĩűƷŁƢŻů/ƿƢŻƟĩþűůƿƪŎěþűĢƪƿƟƟŻƢƷĩĢ

ƷʼnĩŎƢܹůŻĢĩƢþƷĩŦǢܺůŻĢĩƢűŎǬŎűłþƟƟƢŻþěʼnƷŻǜþƢĢŁŻŦţŦŻƢŎƪƷŎěůþƷĩƢŎþŦܒSűڐژڒڔ¼ěʼnĩƢĩƟűŎűþű-ڶڼڷ NĪƣģ܉ܶ¼ŊĪ ǀŧƸǀƣÿŧ£żŧŏƸŏĜƫżłdÿƠÿŲܹƫrżģĪƣŲrǀƫŏĜ܉ܷڐڐ܏

ڶڼڸ SŲģĪĪģ܉ƣĪĜĪŲƸƣĪƫĪÿƣĜŊŊÿƫģżǀěƸĪģƸŊÿƸƸŊĪƫĪŃǀŏģĪŧŏŲĪƫǝĪƣĪÿĜƸǀÿŧŧǣÿŃƣĪĪģǀƠżŲěǣÿŧŧŰĪŰěĪƣƫܠhĪŊƸż-ŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڐڌܡ܏

ڶڼڹ Sěŏģ܏܉ڏڔ܏

ڶڼں SŲڍڕڏڐƸŊĪłĪģĪƣÿƸŏżŲĜŊÿŲŃĪģŏƸƫŲÿŰĪƸżKindai Nippon sakkyokuka renmeiܠrżģĪƣŲ żŰƠżƫĪƣƫܹFĪģĪƣÿƸŏżŲżł dÿƠÿŲܡÿƫƸŊĪƸĪƣŰƫŊŏŲŤƕŊÿģĜżŰĪƸżěĪÿƫƫżĜŏÿƸĪģǝŏƸŊĜżŰŰǀŲŏƫƸÿĜƸŏǜŏƸŏĪƫƸŊÿƸǝĪƣĪŏŲĜƣĪÿƫŏŲŃŧǣƫǀěšĪĜƸ ƸżŃżǜĪƣŲŰĪŲƸÿŧƣĪƠƣĪƫƫŏżŲƫܠŏěŏģ܏܉ڐڎܡ܏SŲڍڕڏڑƸŊĪłĪģĪƣÿƸŏżŲģĪĜŧÿƣĪģŏƸƫżěšĪĜƸŏǜĪƸżܶǝżƣŤƸżŃĪƸŊĪƣƸżƠƣż-ŰżƸĪƸŊĪƠƣżŃƣĪƫƫżłƸżŰżƣƣżǝܹƫŰǀƫŏĜ܏ܷܠGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڔڎ܏ܡ

ڶڼڻ hĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڐڎ܏

ڶڼڼ Ibid. and Galliano, æƕŃÿŤǀ܉ڔڎ܏SŲtżǜĪŰěĪƣڍڕڐڌ܉ÿŧŧŰǀƫŏĜƫżĜŏĪƸŏĪƫǝĪƣĪłżƣĜĪģƸżǀŲŏƸĪŏŲƸŊĪŧŧŏÿŲĜĪƸż

£ƣżŰżƸĪƸŊĪtĪǝƣģĪƣŏŲƸŊĪrǀƫŏĜÿŧàżƣŧģ (GÿŤǀģÿŲƫŊŏŲƸÿŏƫĪŏƫżŤǀƫŊŏŲģƕŰĪŏܡ܉ƣĪƠŧÿĜĪģŏŲڍڕڐڍěǣƸŊĪƫƫż-ciation for Japanese Music Culture (tŏŊżŲżŲŃÿŤǀěǀŲŤÿŤǣƕŤÿŏܡ܉żƠĪƣÿƸŏŲŃǀŲƸŏŧƸŊĪĪŲģżłƸŊĪǝÿƣܠhĪŊƸżŲĪŲ܉

ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڐڏܡ܏ǽƸĪƣƸŊĪǝÿƣ܉ƸŊĪS® rܫěƣÿŲĜŊżłdÿƠÿŲǝÿƫ ƣĪܫłżǀŲģĪģŏŲڍڕڐڒÿƫdÿƠÿŲ®żĜŏĪƸǣłżƣ żŲƸĪŰƠżƣÿƣǣrǀƫŏĜܠd® rܔtŏŊżŲŃĪŲģÿŏżŲŃÿŤǀŤǣƕŤÿŏܡǝŏƸŊrŏƸƫǀŤǀƣŏ ÿƫƫǀŰŏŲŃƸŊĪƠżƫŏƸŏżŲżłŏƸƫǿƣƫƸĜŊÿŏƣܠŏěŏģ܏ܡ܏ÃŲƸŏŧŏƸƫĪŲłżƣĜĪģģŏƫƫżŧǀƸŏżŲŏŲڍڕڐڌƸŊĪłĪģĪƣÿƸŏżŲŊÿģżƣŃÿŲŏǭܫ ĪģڏڕĜżŲĜĪƣƸƫÿŲģƫĪǜĪƣÿŧƣÿģŏżěƣżÿģĜÿƫƸƫ܉ŰżƫƸŧǣłĪÿƸǀƣŏŲŃǝżƣŤƫěǣƸŊĪłĪģĪƣÿƸŏżŲܹƫŰĪŰěĪƣƫ܉ƸŊĪŲǀŰěĪƣ żłǝŊŏĜŊěǣڍڕڏڕŊÿģƣĪÿĜŊĪģŏƸƫƠĪÿŤǝŏƸŊڍڍڒĜżŰƠżƫĪƣƫܠŏěŏģ܏܉ڐڎܡ܉ěǀƸÿŧƫżÿƸŧĪÿƫƸżŲĜĪŏŲƸƣżģǀĜŏŲŃŲĪǝ ǝżƣŤƫěǣGĪƣŰÿŲĜżŰƠżƫĪƣƫܠŏěŏģ܏܉ڐڌܨڐڍܡ܏¼ŊĪłżǀŲģÿƸŏżŲżłƸŊĪŲĪǝšżǀƣŲÿŧŲŃÿŤǀŊǣƕƣżŲܠrǀƫŏĜ¦ĪǜŏĪǝܡ ŏŲڍڕڏڐěǣrŏƸƫǀŤǀƣŏÿŲģżƸŊĪƣŰĪŰěĪƣƫÿŧƫżĜżŲƸƣŏěǀƸĪģƸżÿŲŏŲĜƣĪÿƫŏŲŃÿǝÿƣĪŲĪƫƫżłƸŊĪŃƣżǀƠŏŲdÿƠÿŲĪƫĪ ŰǀƫŏĜÿŧŧŏłĪܠŏěŏģ܏܉ڐڍܡ܏¼ŊĪłżǀŲģĪƣƫżłƸŊŏƫšżǀƣŲÿŧÿƠÿƣƸłƣżŰrŏƸƫǀŤǀƣŏǝĪƣĪNĪŏŃżƣƕfżŰÿƸƫǀ܉fŏǣżƫŊŏfż-ŰÿƸƫǀ܉®ÿěǀƣƕrżƣżŏ܉rÿƫÿż˜Ťŏܠڍڕڌڍܨڍڕړڍܡ܉tÿżƸÿģÿæÿŰÿŰżƸż܉ÿŲģGŏŲšŏæÿŰÿŲĪܠڍڕڌڒܨڍڕڔڎܡܠŏěŏģ܏܉ړڍܡ܏

ڶڼڽ Galliano, æƕŃÿŤǀ܉ڔڏ܏

űŻƿűěĩĢþěŻůƟŻƪŎƷŎŻűƟƢŎǬĩþűĢǜŻƢţƪĚǢSŁƿţƿĚĩþűĢrþƷƪƿĢþŎƢþǜĩƢĩƪĩŦĩěƷĩĢܒ^ڛڢڙ¼ěʼnĩƢĩƟܮ űŎűƟƿĚŦŎƪʼnĩĢƷʼnĩǜŎűűŎűłƪěŻƢĩƪŎűʼnŎƪŻǜűƟƿĚŦŎƪʼnŎűłƪĩƢŎĩƪþűĢ܌ĚþěţŎű/ƿƢŻƟĩ܌ŎűƷƢŻĢƿěĩĢ ǜŻƢţƪĚǢǢŻƿűłdþƟþűĩƪĩþűĢ ʼnŎűĩƪĩěŻůƟŻƪĩƢƪŎűʼnŎƪƟŎþűŻƢĩěŎƷþŦƪܒ^ڛڢښ

Both composers’ federations adopted optimistic language at their outset. In the context of the foundation of the Shin ongaku renmei ܣtĩǜ rƿƪŎě FĩĢĩƢþƷŎŻűܤ Ŏű ڐژڒړ Ŏű ƢĩůŻƷĩ ®þƟܮ ƟŻƢŻ܌FƿůŎŻNþǢþƪþţþƪþŎĢ܋ܹĚƪŻŦƿƷĩŦǢƷʼnĩŻűŦǢƟþƷʼnƷʼnþƷŎƪŻƟĩűƷŻƿƪǢŻƿűłĩƢěŻůƟŻƪĩƢƪŎƪƷŻ combine new methods and techniques with the venerable heritage of our traditional culture.”^ڛڢڛ łĩĢڑڏ܌NþǢþƪþţþܣڐژڐړܫڔڔܤþűĢʼnŎƪěŻŦŦĩþłƿĩţŎƢþSŁƿţƿĚĩʼnþĢŁŻƿűĢĩĢƷʼnĩŁĩĢĩƢþƷŎŻűƷǜŻ ǢĩþƢƪþǼƷĩƢůĩĩƷŎűłŎű®þƟƟŻƢŻ܌ǜʼnŎěʼnǜþƪƢþƷʼnĩƢŎƪŻŦþƷĩĢŁƢŻů¼ŻţǢŻܮěĩűƷĩƢĩĢdþƟþűĩƪĩůƿ-ƪŎěþŦŦŎŁĩĢƿƢŎűłƷʼnþƷƟĩƢŎŻĢܒtŻƷǜŎƷʼnƪƷþűĢŎűł܌ƷʼnĩƷǜŻǢŻƿűłěŻůƟŻƪĩƢƪþűĢƷʼnĩůƿƪŎěěƢŎƷŎě ƷƪƿƪʼnŎrŎƿƢþܣڐژڐڒܫڐژژږܤ܌ǜʼnŻʼnþĢþŦƢĩþĢǢĚĩĩűěŻƢƢĩƪƟŻűĢŎűłǜŎƷʼn/ƿƢŻƟĩþűþűĢůĩƢŎěþű musicians and composers for about two years, started their activities.^ڛڢڜűڒڏ®ĩƟƷĩůĚĩƢڐژڒړ܌

they staged a one-day festival under the French name Le festival de musique contemporaine in Sapporo’s Imai Memorial Hall.^ڛڢڝȃĩŁĩƪƷŎǛþŦŁĩþƷƿƢĩĢdþƟþűĩƪĩƟƢĩůŎĩƢĩƪŻŁǜŻƢţƪĚǢ®þƷŎĩ܌

¦þǛĩŦ܌®ƷƢþǛŎűƪţǢ܌ĢĩFþŦŦþ܌ þƪĩŦŦþ܌/ƢǜŎű®ěʼnƿŦʼnŻDzŁ܌þűĢŻƷʼnĩƢ/ƿƢŻƟĩþűěŻůƟŻƪĩƢƪ܌ŎűěŦƿĢܮ ing a version of de Falla’s ballet music El amor brujoܣڐژڐڔܘڐڕܤþƢƢþűłĩĢŁŻƢƪĩǡƷĩƷĚǢNþǢþƪþţþ þűĢSŁƿţƿĚĩܒȃĩłƢŻƿƟěŦĩþƢŦǢþŦƪŻƢĩłþƢĢĩĢŎƷƪĩŦŁþƪþűŻƟƟŻƪŎƷŎŻűܣnozaiܤƷŻ¼ŻţǢŻܼƪþěþĢĩůܮ ic establishment.^ڛڢڞȃŎƪƟŻƪŎƷŎŻűǜþƪĩǡƟƢĩƪƪĩĢűŻƷŦĩþƪƷŎűƷʼnĩłƢŻƿƟܼƪĢĩĢŎěþƷĩĢŎűƷĩƢűþƷŎŻűܮ alism and the composers’ more rigorous and direct approach toward Japanese traditional þűĢŁŻŦţůƿƪŎěƪܒSŁƿţƿĚĩܼƪŻƢěʼnĩƪƷƢþŦƟŎĩěĩdþƟþűĩƪĩ¦ʼnþƟƪŻĢǢ (tŎʼnŻűţǢƔƪʼnŎţǢŻţƿܤŁƢŻůڐژڒڔ܌

þǜþƢĢĩĢƷʼnĩ¼ěʼnĩƢĩƟűŎű£ƢŎěĩŻŁƷʼnĩƪþůĩǢĩþƢ܌ĚĩěþůĩƷʼnĩŁŻƢĩůŻƪƷůŻĢĩŦŻŁþűĩŻܮŁŻŦţŦŻƢŎƪƷ style dubbed ţŻţƿůŎűܴƪʼnŎţǢŻţƿܣűþƷŎŻűþŦƷŻűĩƟŻĩůƪܤĚǢڐژڒڗ^ڛڢڟ – adopting the national style ŻŁ/ƿƢŻƟĩþűěŻůƟŻƪĩƢƪþƢŻƿűĢڐژڏڏþűĢƟþŎűƷŎűłþűŎĢĩþŦŎǬĩĢƟŎěƷƿƢĩŻŁþƟƢĩܮàĩƪƷĩƢűŎǬĩĢ ƢƿƢþŦ dþƟþűܒ NŻǜĩǛĩƢ܌ NþǢþƪþţþܼƪ ůŻƢĩ ƢĩȀűĩĢ þƟƟƢŻþěʼn ƷŻ Ʒʼnĩ ěŻƿƢƷ ůƿƪŎě łĩűƢĩ ƷƔłþţƿ, ĚþƪĩĢ Żű ĢĩƷþŎŦĩĢ ƪƷƢƿěƷƿƢþŦ ůŻĢĩŦŎűł þƪ ƢĩþŦŎǬĩĢ Ŏű ʼnŎƪ ڐژڒږ ŻƢěʼnĩƪƷƢþŦ ǜŻƢţAncient Dance (fŻĢþŎűŻĚƿţǢŻţƿܤ܌ǜþƪƟƢŻĚþĚŦǢěŦŻƪĩƢƷŻƷʼnĩþƟƟƢŻþěʼnŻƢŎłŎűþŦŦǢĩűǛŎƪþłĩĢĚǢrŎƷƪƿţƿƢŎþűĢ ʼnŎƪěŻŦŦĩþłƿĩƪŎűڐژڒڏ܌ǜʼnĩűƷʼnĩǢŁŻƢůƿŦþƷĩĢƷʼnĩłƿŎĢĩŦŎűĩƪŁŻƢƷʼnĩ®ʼnŎűţƔƪþţţǢŻţƿţþƢĩűůĩŎ.

rŎƷƪƿţƿƢŎþűĢNþǢþƪþţþǜĩƢĩĚŻƷʼnƟþƢƷŎěŎƟþűƷƪŎűƷʼnĩěŻűƷƢŻǛĩƢƪŎþŦĢŎƪěƿƪƪŎŻűŻűܹdþƟþ-nese harmony” (Nihonteki waseironܤƷʼnþƷƪƟþűűĩĢƷʼnĩĩűƷŎƢĩڐژڒڏƪþűĢěŻűƷŎűƿĩĢŎűƷŻƷʼnĩڐژړڏƪܒ ڶڽڴ FŏƣƫƸƠƣŏǭĪ܈SłǀŤǀěĪ܉Japanese Rhapsody

(tŏŊżŲŤǣƕƫŊŏŤǣżŤǀܡłżƣżƣĜŊĪƫƸƣÿܠڍڕڏڑܡܔƫĪĜżŲģƠƣŏǭĪ܈rÿƸƫǀģÿŏƣÿ܉Pas-toraleܠڍڕڏڑܡłżƣżƣĜŊĪƫƸƣÿܔƸŊĪšǀƣǣżłƸŊĪĜżŰƠĪƸŏƸŏżŲŏŲ£ÿƣŏƫŏŲĜŧǀģĪģdÿĜƢǀĪƫSěĪƣƸ܉ŧěĪƣƸ¦żǀƫƫĪŧ܉ƣƸŊǀƣ NżŲĪŃŃĪƣ܉ ŧĪǢÿŲģƣĪ ¼ÿŲƫŰÿŲ܉ ¼ŏěżƣ NÿƣƫĀŲǣŏ܉ £ŏĪƣƣĪܫĜƸÿǜĪ FĪƣƣżǀģ܉ NĪŲƣŏ GŏŧܫrÿƣĜŊĪǢ܉ ÿŲģ NĪŲƣŏ £ƣǀܫ ŲŏĹƣĪƫܠNżŰĪŲŏĜŤ܉ܶŏżŃƣÿƠŊǣ܉ܷSSSܡ܏SŲ®ŊÿŲŃŊÿŏ܉ǝŊĪƣĪŊĪŧŏǜĪģģǀƣŏŲŃƸŊĪƠĪƣŏżģڍڕڏڐܨڏړÿƫÿŲÿģǜŏƫżƣżłƸŊĪ ŊŏŲĪƫĪܫdÿƠÿŲĪƫĪ ÿģŰŲŏƫƸƣÿƸŏżŲ܉ ¼ĜŊĪƣĪƠŲŏŲ Ŋÿģ ÿŧƫż żƣŃÿŲŏǭĪģ ÿ ĜżŰƠĪƸŏƸŏżŲ ŏŲ ڍڕڏڐ܉ ŏŲ ǝŊŏĜŊ ƸŊĪ ƠŏÿŲż piece ǀDzłÿŧżżǣܽƫFŧǀƸĪěǣNĪhǀƸŏŲŃǝżŲƸŊĪǿƣƫƸƠƣŏǭĪܠވݎSSS܏ڍܡ܏'ǀƣŏŲŃÿĜżŲĜĪƣƸƸżǀƣǝŏƸŊƸŊĪßŏĪŲŲÿ£ŊŏŧŊÿƣŰżŲܫ ŏĜŏŲڍڕڏړ܉ŏƸƫĜżŲģǀĜƸżƣFĪŧŏǢàĪŏŲŃÿƣƸŲĪƣܠڍڔڒڏܨڍڕڐڎܡÿŧƫżÿǝÿƣģĪģÿĜżŰƠżƫŏƸŏżŲƠƣŏǭĪܔƸŊĪƠƣŏǭĪǝŏŲŲĪƣƫŏŲ ڍڕڏڕǝĪƣĪrŏƸƫǀŤǀƣŏܠǿƣƫƸƠƣŏǭĪłżƣSinfonietta ܞ®ŊƕŤƕŤǣƕŤǣżŤǀܟ܉ڍڕڏڐܡ܉FǀŰŏżNÿǣÿƫÿŤÿܠAncient Dance܉ڍڕڏړܡ܉ÿŲģ rÿƫÿż Ťŏ ܠæżƣǀ Ųż ŰĪŏƫƕ ܞ/ǜĪŲŏŲŃ rĪģŏƸÿƸŏżŲܟܡ ܠGÿŧŧŏÿŲż܉ æƕŃÿŤǀ܉ ڕڎܨڕڏܡ܏ ĜĜżƣģŏŲŃ Ƹż hĪŊƸżŲĪŲ ܠܸܶrÿƣĜŊ łƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷړڍܡ܉rŏƸƫǀŤǀƣŏܹƫ SinfoniettaǝÿƫÿŧƫżÿǝÿƣģĪģƸŊĪƠƣŏǭĪżłƸŊĪ Ongaku konkuuruܠrǀƫŏĜ żŰƠĪƸŏƸŏżŲܡŏŲڍڕڏڐܔƸŊŏƫĜżŰƠĪƸŏƸŏżŲŊÿģěĪĪŲĪƫƸÿěŧŏƫŊĪģŏŲڍڕڏڎ܏

ڶڽڵ hĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڐڎ܉ړڎ܉ڕڔ܏

ڶڽڶ ¥ǀżƸĪģŏŲGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڔڍܠŲżżƣŏŃŏŲÿŧƫżǀƣĜĪƠƣżǜŏģĪģܡ܏

ڶڽڷ Sěŏģ܏܉ړڕܨڔڍ܏

ڶڽڸ NżŰĪŲŏĜŤ܉ܶŏżŃƣÿƠŊǣ܏ܷ

ڶڽڹ Menzel, NƕŃÿŤǀ, 116.

ڶڽں Sěŏģ܏܉ڍڐڐܨڍڒڏܠŊĪƣĪrĪŲǭĪŧÿŧƫżƠƣżǜŏģĪƫĜŧżƫĪƣĪÿģŏŲŃƫżłSłǀŤǀěĪܹƫÿŲģNÿǣÿƫÿŤÿܹƫłżŧŤŧżƣŏƫƸŏĜƫǣŰƠŊżŲŏĜ ƠżĪŰƫܡ܏

SűڐژڑژþűĢڐژڒڏ܌rŎƷƪƿţƿƢŎȀƢƪƷŎűƷƢŻĢƿěĩĢþƪǢƪƷĩůŻŁƪǢůůĩƷƢŎěþŦŦǢŻƢĢĩƢĩĢȀǼƷʼnƪ܌ĢĩǛĩŦܮ ŻƟĩĢŁƢŻůdþƟþűĩƪĩƪěþŦĩƪþűĢłƢŻƿűĢĩĢŎűNƿłŻ¦ŎĩůþűűܼƪĢƿþŦŎƪůܒȃĩƪǢƪƷĩůǜþƪĩǡƟŦŎ-ěþƷĩĢþłþŎűŎűƪŻůĩĢĩƷþŎŦŎűþűþƢƷŎěŦĩŎűƷʼnƢĩĩŦþűłƿþłĩƪܣdþƟþűĩƪĩ܌FƢĩűěʼn܌GĩƢůþűܤŎűڐژڒړ܌

thereby addressing an international readership.^ڛڢڠSűƷʼnŎƪƪǢƪƷĩů܌ƷʼnĩþƢƢþűłĩůĩűƷŻŁȀǼƷʼnƪ܌þ model of gagaku ƷƿűŎűłþűĢěʼnŻƢĢܮĚƿŎŦĢŎűł܌ƢĩƪƿŦƷƪŎűƷǜŻĢŎDzŁĩƢĩűƷƪŎǡܮܣŻƢƪĩǛĩűܮܤűŻƷĩƪěþŦĩƪ܌

ŻűĩþƪěĩűĢŎűłܣƟŻƪŎƷŎǛĩܤþűĢŻűĩĢĩƪěĩűĢŎűłܣűĩłþƷŎǛĩܤ܌ǜʼnŎěʼnþƢĩŦþƢłĩŦǢŎĢĩűƷŎěþŦƷŻƷʼnĩdþƟܮ anese ƢǢŻ- and ritsu-scales of the gagaku ƪǢƪƷĩůܣƟŻƪŎƷŎǛĩ܋ܮܮ ܮܡ'ܢܮ/ܮF-GܮܡܢܗűĩłþƷŎǛĩ܋

/ܮ'ܮ -[BK]-A-G-Fܮܡ/ܢܤܒ^ڛڢڡrŎƷƪƿţƿƢŎʼnŎłʼnŦŎłʼnƷƪƷʼnĩŻƟƷŎŻűƷŻƪǜŎƷěʼnĚĩƷǜĩĩűƷʼnĩƷǜŻƪǢƪƷĩůƪ that might be interconnected by either F and F or BK and B. Assuming a Pythagorean tuning ƪǢƪƷĩů܌rŎƷƪƿţƿƢŎþƢłƿĩƪƷʼnþƷŎűdþƟþűĩƪĩůƿƪŎěƷʼnĩůþŠŻƢƪĩěŻűĢǜŻƿŦĢĚĩěŻűƪŎĢĩƢĩĢůŻƢĩ ěŻűƪŻűþűƷƷʼnþűƷʼnĩܣůþŠŻƢŻƢůŎűŻƢܤƷʼnŎƢĢƪܒSűþƪǢƪƷĩůĚþƪĩĢŻű܌ŁŻƢĩǡþůƟŦĩ܌ƷʼnĩƷƢŎěʼnŻƢĢ ܮܮ/ƪʼnŻƿŦĢĚĩěŻűƪŎĢĩƢĩĢěŻűƪŻűþűƷܒ^ڛڢڢ Also, the tritone should be applied consistently, as it occurs in both basic scales.^ڜڙڙrŎƷƪƿţƿƢŎܼƪ song cycle þƪʼnƔţŎţƔƪʼnǕܣþƪʼnƔܼƪ¼ƢþǛĩŦŻłƿĩܤþǼƷĩƢ ten haikuĚǢrþƷƪƿŻþƪʼnƔܣڐڕړړܫڐڕژړܤŁƢŻůڐژڒڏܘڒڐŁŻƢǛŻŎěĩþűĢƟŎþűŻܣþƢƢþűłĩĢŁŻƢǛŻŎěĩþűĢ ěʼnþůĚĩƢŻƢěʼnĩƪƷƢþŎűڐژڒږܤĩǡĩůƟŦŎȀĩƪƷʼnĩƷʼnĩŻƢǢܼƪƟŻƷĩűƷŎþŦܒNĩƢĩ܌ůŎűŻƢþűĢůþŠŻƢƪĩěŻűĢƪ ƪŎłűŎȀěþűƷŦǢ ĩűƢŎěʼn Ʒʼnĩ ʼnþƢůŻűŎě Ŧþűłƿþłĩ ĚþƪĩĢ Żű ŁŻƿƢƷʼnƪ þűĢ ȀǼƷʼnƪܒ^ڜڙښ Indeed, seconds here repeatedly seem to have the status of resolution sonorities.^ڜڙڛ

FŻŦŦŻǜŎűłhþƪƪĩhĩʼnƷŻűĩűܼƪþűþŦǢƪŎƪŻŁƷʼnŎƪěǢěŦĩ܌ǜĩěþűƪĩĩƷʼnþƷrŎƷƪƿţƿƢŎĢŎĢűŻƷþƟƟŦǢ ʼnŎƪƪǢƪƷĩůůĩěʼnþűŎěþŦŦǢܒSűĢĩĩĢ܌ŎƷƪĩĩůƪƷʼnþƷʼnĩƷŻŻţƷʼnĩĚþƪŎěŎĢĩþŻŁƪǜŎƷěʼnŎűłĚĩƷǜĩĩűƷʼnĩ pitches F and F as well as between B and BK as a starting point for a rather free alteration of ƷʼnĩĚþƪŎěůŻĢĩƪܗůŻƢĩŻǛĩƢ܌ƷʼnĩŁƢĩơƿĩűƷƪǜŎƷěʼnŎűłĚĩƷǜĩĩűƢĩŦþƷĩĢůŻĢĩƪěƢĩþƷĩƪþěŻűƪƷþűƷ ʼnþƢůŻűŎěǴ Ŧƿǡܒ®ŻűłűŻܒݑڑܹÃůþűŎűĩƷĩܺܣSƪŦĩƟƷŻűůǢʼnŻƢƪĩܗ/ǡܒݑڑܒږܤ^ڜڙڜěŦĩþƢŦǢĩƪƷþĚŦŎƪʼnĩƪ/

þƪþƟŎƷěʼněĩűƷĩƢƷʼnƢŻƿłʼnŻƿƷܣŎƷþěƷƪþƪƷʼnĩƢŻŻƷŎűþŦŦůĩþƪƿƢĩƪĩǡěĩƟƷŁŻƢڒþűĢڕܫږܫĚƿŎŦƷŻű ܫþűĢůĩþƪƿƢĩژܫĚƿŎŦƷŻű'ܫǜʼnŎěʼnʼnĩƢĩěþűĚĩŎűƷĩƢƟƢĩƷĩĢþƪþěþĢĩűƷŎþŦůþŠŻƢƪĩěŻűĢ ĚĩŦŻǜƷʼnĩƷŻűŎě܋/ܮ'ܮ/ܤܒȃĩƟŎƷěʼněŻűƷĩűƷŻŁƷʼnĩȀƢƪƷƷʼnƢĩĩůĩþƪƿƢĩƪŎƪ/ܮFܮܮܮ'ܣܮ/ܤ܌þȀǛĩܮ note variant of the ůŎǢþţŻĚƿƪʼnŎƪěþŦĩ܌ǜʼnŎěʼněþűűŻƷĚĩĢĩƢŎǛĩĢŁƢŻůrŎƷƪƿţƿƢŎܼƪůŻĢþŦƪǢƪƷĩůܒ ȃĩůŻĢĩ/ܮűĩłþƷŎǛĩǜŻƿŦĢĚĩ/ܮFܮGܮܮKܮ ܮ'܌ƪŻGþűĢ þƢĩůŎƪƪŎűłĩűƷŎƢĩŦǢþűĢK is raised to B, resulting in a combination of a ůŎǢþţŻĚƿƪʼnŎܮƷƢŎěʼnŻƢĢ ܣ/ܮFܮܤ þűĢ þ ůŎű݂ǢŻ-trichord (B-'ܮ/ܤܒ^ڜڙڝrĩþƪƿƢĩƪړþűĢڔܒڐűŻǜƢĩƟŦþěĩƷʼnĩ by BK܌ƢĩƪƿŦƷŎűłŎűþŁƿŦŦȀǛĩܮűŻƷĩůŎǢþţŻĚƿƪʼnŎ-ƪěþŦĩܣ/ܮFܮܮKܮ'ܮܡ/ܢܤܒSűůĩþƪƿƢĩڔܒڑƷʼnĩ again replaces BK and in the next measure the F is raised to F܌ƢĩƪƿŦƷŎűłŎűþƪŎůƟŦĩƷĩƷƢþěʼnŻƢĢŎűůĩþƪƿƢĩƪڕܫږ܋ܮܮ/ܮF which could be ŎűƷĩƢƟƢĩƷĩĢþƪþƪƿĚƪĩƷŻŁƷʼnĩůŻĢĩܮƟŻƪŎƷŎǛĩܣƷʼnĩĢƿþŦŎƪƷƢĩŦþƷŎǛĩŻŁ/ܮűĩłþƷŎǛĩܤŎűrŎƷƪƿţƿƢŎܼƪ

ڶڽڻ rŏƸƫǀŤǀƣŏ܉ܶÉěĪƣšÿƠÿŲŏƫĜŊĪNÿƣŰżŲŏĪ܏ܷ

ڶڽڼ Sěŏģ܏܉ڎ܏

ڶڽڽ hĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷړڐ܏

ڷڴڴ ®ĪĪŏěŏģ܏܉ړڑ܏

ڷڴڵ ¼Ŋŏƫ ĜǣĜŧĪ Ŋÿƫ ƣĪĜĪŏǜĪģ ĜżŲƫŏģĪƣÿěŧĪ ÿƸƸĪŲƸŏżŲ ŏŲ ƸŊĪ ŧŏƸĪƣÿƸǀƣĪܔ ƫĪĪ rŏǣǀŤŏ܉ ܶBasho kikoshu to rŏƸƫǀŤǀƣŏ

®ŊǖŤŏĜŊŏ܉ܷGÿŧŧŏÿŲż܉æƕŃÿŤǀ܉ڒڔܨړڌ܉NĪƣģ܉ܶ¼ŊĪ ǀŧƸǀƣÿŧ£żŧŏƸŏĜƫżłdÿƠÿŲܹƫrżģĪƣŲrǀƫŏĜ܉ܷڑڌܨڑڍ܉£ÿĜǀŲ܉ܶtÿ-ƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ®ƸǣŧĪŏŲSŲƸĪƣǝÿƣæƕŃÿŤǀ܉ܷڎڔܨڏڍ܉ÿŲģhĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪ ŃĪżł ƣĪÿƸŏżŲ܉ܹܷڍڌڔܨڍڍڕ܏

ڷڴڶ Corresponding sonorities in Japanese koto ŰǀƫŏĜŊÿģżǽƸĪŲěĪĪŲƣĪģǀĜĪģƸżƫŏŲŃŧĪŲżƸĪƫŏŲ/ǀƣżƠĪÿŲÿƣƣÿŲŃĪ-ŰĪŲƸƫżłdÿƠÿŲĪƫĪŰǀƫŏĜÿƣżǀŲģڍڕڌڌܠƫĪĪ¦ĪǜĪƣƫ܉Das Fremde und das Vertraute܉ڒڑ܉ړڔ܉ڔڑܡ܏

ڷڴڷ Uma ni nete / ðÿŲŰǀƸƫǀŤŏƸƕƫŊŏ / Cha no kemuriܔSƫŧĪƠƸżŲŰǣŊżƣƫĪܕŧŏŲŃĪƣŏŲŃģƣĪÿŰܨƸŊĪŰżżŲłÿƣÿǝÿǣݎܕƫƸĪÿŰ łƣżŰƸĪÿܠƸƣÿŲƫŧÿƸŏżŲÿǽƸĪƣhĪŊƸżŲĪŲ܉ܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڍڌڕܡ܏

ڷڴڸ ®ĪĪfżŰżģÿÿŲģtżŃÿǝÿ܉ܶ¼ŊĪżƣǣÿŲģtżƸÿƸŏżŲŏŲdÿƠÿŲܷłżƣƸŊĪƸŊĪżƣǣżłƸƣŏĜŊżƣģƫÿŲģƸĪƸƣÿĜŊżƣģƫŏŲdÿƠÿ-ŲĪƫĪŰǀƫŏĜƸŊĪżƣǣ܉ģĪǜĪŧżƠĪģěǣFǀŰŏżfżŏǭǀŰŏ܏

ƪǢƪƷĩůܒSűůĩþƪƿƢĩƪڗܫڐڏƷʼnĩŻƢŎłŎűþŦƟŎƷěʼněŻűƷĩűƷ/ܮFܮܮܮ'ܮܣ/ܤŎƪƢĩƪƷŻƢĩĢ܌ŁŻěƿƪŎűłŻűƷʼnĩ ůþŠŻƢƪĩěŻűĢ'ܮ/ܣĚŻƷʼnþƪþܹŦĩþĢŎűłƷŻűĩܺŎűƷʼnĩĚþƪƪþűĢŎűěƢĩþƷŎűłƷĩűƪŎŻűĚĩƷǜĩĩűƷʼnĩȀűþŦ ůĩŦŻĢǢƟŎƷěʼnĩƪŎűƷʼnĩǛŻŎěĩܣ'ڔܤþűĢƷʼnĩƟŎþűŻܣ/ڔܤ܌þƪǜĩŦŦþƪþƷƷʼnĩĩűĢŻŁƷʼnĩěŻűěŦƿĢŎűłƟŎþűŻ þƢƟĩłłŎŻܤܒSűłĩűĩƢþŦ܌ƷʼnĩʼnþƢůŻűŎě ƪƷƢƿěƷƿƢĩŻŁƷʼnŎƪƪŻűłƪƿłłĩƪƷƪƷʼnþƷrŎƷƪƿţƿƢŎǜþƪěŻű-cerned with deploying alterations to the standard ůŎǢþţŻĚƿƪʼnŎ scale rather than the consistent application of his own system.^ڜڙڞ

ȃĩƪŎƷƿþƷŎŻűŎƪěŻűƪŎĢĩƢþĚŦǢůŻƢĩěŻůƟŦĩǡŎűűŻܒڕܹ®ʼnŎǬƿţþƪþǢþܺ ܣȃĩƪƷŎŦŦűĩƪƪܗ/ǡܒݑڑܒڗܤ܌^ڜڙڟ þƪŻűłƷʼnþƷrŎƷƪƿţƿƢŎěŦþŎůĩĢűŻƷƷŻĚĩþĚŦĩƷŻƿűĢĩƢƪƷþűĢŁƿŦŦǢʼnŎůƪĩŦŁܒ^ڜڙڠ A continuous minor ƪĩěŻűĢŻƪƷŎűþƷŻŎűƷʼnĩƢŎłʼnƷʼnþűĢŻŁƷʼnĩƟŎþűŻƢĩűĢĩƢƪƷʼnĩěʼnŎƢƟŎűłŻŁěŎěþĢþƪ܌ĩǛŻţĩĢŎűƷʼnĩȀ-nal part of the haiku.ȃŎƪŻƪƷŎűþƷŻěŦĩþƢŦǢþŦŦƿĢĩƪƷŻƷʼnĩ/űĩłþƷŎǛĩƪěþŦĩܣŻƢǛþƢŎĩĢůŎǢþţŻĚƿƪʼnŎܤ ƿƪĩĢŎűűŻܒڑþűĢŻƷʼnĩƢƪŻűłƪŻŁƷʼnĩěǢěŦĩܒ'ĩƪƟŎƷĩƪƿěʼnþűþŦŦƿƪŎŻű܌ƷʼnĩŦĩǼƷʼnþűĢŎűůĩþƪƿƢĩƪ ڑܫڒĚƢŎűłƪƟŎƷěʼnĩƪ/ܮF-A-BK-Bܮ ܮ'K܌ƷʼnƿƪĩǡƟþűĢŎűłþűĢþŦƷĩƢŎűłƷʼnĩ/űĩłþƷŎǛĩƪěþŦĩěʼnƢŻ-ůþƷŎěþŦŦǢ܌þƪʼnþĢþŦƢĩþĢǢŻěěƿƢƢĩĢŎűűŻƪܒݑڒþűĢڔܒȃĩű/ŎƪƢĩƟŦþěĩĢĚǢ/KŎűůĩþƪƿƢĩړ܌ǜʼnĩű ƷʼnĩǛŻŎěĩĩűƷĩƢƪ܌þűĢƷʼnĩƟþƪƪþłĩƪƷþƢƷŎűłŎűůĩþƪƿƢĩڔěŦĩþƢŦǢĩƪƷþĚŦŎƪʼnĩƪFþƪþƢĩěƿƢƢŎűłƟŎƷěʼn ěĩűƷĩƢŎűƷʼnĩĚþƪƪܒhþƷĩƢK replaces AܣůܒڕܤþűĢGKܣůܒږܤþƟƟĩþƢƪ܌ƷĩůƟŻƢþƢŎŦǢƢþŎƪĩĢƷŻG ܣůܒژܤĚƿƷƢĩƷƿƢűŎűłƷŻGKŦþƷĩƢܣůܒڐڏܤܗƷʼnƿƪƷʼnĩƢĩŁĩƢĩűěĩƪěþŦĩŁŻƢƷʼnŎƪƟþƪƪþłĩþƟƟĩþƢƪƷŻĚĩ

“F-negative” F-GK-AK-BKܮ ܮ'Kܮ/KܣܮFܤܣǜŎƷʼnƷʼnĩȀǼƷʼnƪěþŦĩĢĩłƢĩĩ K raised to C, analogous to űŻܒڑܤܒàĩěþűƷʼnƿƪƿűĢĩƢƪƷþűĢƷʼnŎƪƪŻűłþƪþƪěþŦþƢĩǡƷĩűƪŎŻűŻŁƷʼnĩƷǜŻŻƪƷŎűþƷŻƟŎƷěʼnĩƪ/þűĢ F܋ǜʼnŎŦĩƷʼnĩȀƢƪƷůĩŦŻĢŎěƪĩłůĩűƷŎűƷʼnĩƟŎþűŻܣůůܒڑܫڒܤƪƷŎŦŦþƟƟĩþƢƪƷŻĩƪƷþĚŦŎƪʼnþű/ƷŻűŎě܌

the remaining part of the song establishes the F center.^ڜڙڡȃĩěĩűƷƢþŦŎƷǢŻŁƷʼnĩƟŎƷěʼnFŎƪĩǛĩű ůŻƢĩþƟƟþƢĩűƷŎűƷʼnĩþĢþƟƷþƷŎŻűŻŁƷʼnŎƪƪŻűłŎűƷʼnĩƪĩěŻűĢůŻǛĩůĩűƷŻŁrŎƷƪƿţƿƢŎܼƪ®ŻűþƷþŁŻƢ ßŎŻŦŎűþűĢ£ŎþűŻŁƢŻůڐژڒڔ܌ǜʼnĩƢĩƷʼnĩǛŎŻŦŎűܼƪůĩŦŻĢŎěŦŎűĩþŦǜþǢƪƢĩƷƿƢűƪƷŻFܣŻƢFܮ ܤƷŻǜþƢĢ the end of the phrases.

rŎƷƪƿţƿƢŎ ʼnþĢ ƷŻ ĢĩŁĩűĢ ʼnŎƪ ƪǢƪƷĩů þűĢ þű ŻƢŎłŎűþƢǢ dþƟþűĩƪĩ þƟƟƢŻþěʼn ƷŻ ʼnþƢůŻűǢ Ŏű łĩűĩƢþŦþłþŎűƪƷfŦþƿƪ£ƢŎűłƪʼnĩŎůܣڐڗڗڒܫڐژږڑܤ܌ǜʼnŻƷþƿłʼnƷŁƢŻůڐژڒڐƷŻڐژڒږþƷƷʼnĩ¼ŻţǢŻrƿƪŎě School and demanded of his students a “submission to the fundamental law of our function-al harmony” and to the “strict regulation of imitative-contrapuntfunction-al structure.”^ڜڙڢ In this de- ĚþƷĩ܌ rŎƷƪƿţƿƢŎ ƟŻŎűƷĩĢ ƷŻ þ ěƢŎƷŎơƿĩ ŻŁ £ƢŎűłƪʼnĩŎůܼƪ þƢłƿůĩűƷƪ ƷʼnþƷ ʼnþĢ Ěĩĩű ƢþŎƪĩĢ ĚǢ

®ʼnƔʼnĩŎ¼þűþţþܣڐڗڕڑܫڐژړڔܤ܌þŁŻƢůĩƢƪƷƿĢĩűƷŻŁNĩƢůþűűǛŻűNĩŦůʼnŻŦƷǬþűĢþŦĩþĢŎűłůƿƪŎěŻŦŻܮ łŎƪƷŎűdþƟþűĢƿƢŎűłƷʼnĩڐژڒڏƪܒ¼þűþţþܼƪڐژړڏƷƢĩþƷŎƪĩNihon wasei no kiso (Foundations of Japa-űĩƪĩNþƢůŻűǢܤƟƢŻƟŻƪĩĢþłƢŻƿƟŻŁږڏƪŻűŻƢŎƷŎĩƪƷʼnþƷǜĩƢĩěŻűƪŎĢĩƢĩĢþĢĩơƿþƷĩŁŻƢdþƟþűĩƪĩ ʼnþƢůŻűǢ܌ĚþƪĩĢŻűƷǜŻʼnĩƟƷþƷŻűŎěƪěþŦĩƪ܌ƪƷþěţĩĢƷʼnŎƢĢƪ܌þűĢƷʼnĩƟƢŎűěŎƟŦĩŻŁŠƿƪƷŎűƷŻűþƷŎŻűܒ^ڜښڙ

ڷڴڹ hĪŊƸżŲĪŲܹƫÿŲÿŧǣƫŏƫܠłżŧŧżǝŏŲŃƸŊĪĜżŰƠżƫĪƣܹƫżǝŲÿĜĜżǀŲƸܡƫĪĪŰƫƸżżƸŊĪżƣĪƸŏĜÿŧŏŲÿƫƫǀŰŏŲŃƸŊƣĪĪģŏdzłĪƣĪŲƸ ŰżģĪƫŏŲǿǜĪģŏdzłĪƣĪŲƸƫĪĜƸŏżŲƫܠܸܶrÿƣĜŊłƣżŰƸŊĪŃĪżłSŰŏƸÿƸŏżŲƸżƸŊĪŃĪżł ƣĪÿƸŏżŲ܉ܹܷڍڌڔܨڍڍڎܡ܏£ÿƣƸŏ-ĜǀŧÿƣŧǣƸŊĪŏŲƸĪƣƠƣĪƸÿƸŏżŲżłŰĪÿƫǀƣĪƫڐܨڑ܏ڍÿƫŲĪŃÿƸŏǜĪƫĪĪŰƫŊÿƣģŧǣƸżŰÿŤĪƫĪŲƫĪ܉ĜżŲƫŏģĪƣŏŲŃƸŊÿƸ/ŏƫ ĜŧĪÿƣŧǣĪƫƸÿěŧŏƫŊĪģÿƫÿƸżŲŏĜŏŲƸŊĪěÿƫƫŊĪƣĪ܉ÿƫŏŲŰĪÿƫǀƣĪƫڍܨڎ܏

ڷڴں Shizukasa ya / iwa ni shimiiru / semi no koeܕ¼ŊĪƫƸŏŧŧŲĪƫƫܕƫĪĪƠŏŲŃŏŲƸżƸŊĪƣżĜŤƫܕĜŏĜÿģÿƫܹƫĜƣĪĪĜŊܠƸƣÿŲƫŧÿƸŏżŲ ÿǽƸĪƣŏěŏģ܏܉ڍڍڒܡ܏

ڷڴڻ See ibid.

ڷڴڼ rǣÿŲÿŧǣƫŏƫŊĪƣĪÿŃÿŏŲģŏdzłĪƣƫłƣżŰƸŊÿƸżłhĪŊƸżŲĪŲ܉ǝŊżŏŲƸĪƣƠƣĪƸƫŰĪÿƫǀƣĪƫڎܨڕÿƫěÿƫĪģżŲ ŲĪŃÿƸŏǜĪ ܠŏěŏģ܏܉ڍڍڒܨڍڍڔܡ܏

ڷڴڽ ¥ǀżƸĪģŏŲ®ǀĜŊǣܶ'ĪǀƸƫĜŊƫƠƣÿĜŊŏŃĪrǀƫŏŤĪƣŏŲdÿƠÿŲǜżƣڍڕڐڑ܉ܷڔڐ܉ڍڏڍܠܶÃŲƸĪƣǝĪƣłǀŲŃǀŲƸĪƣģÿƫGƣǀŲģŃĪƫĪƸǭ ǀŲƫĪƣĪƣłǀŲŤƸŏżŲĪŧŧĪŲNÿƣŰżŲŏĪܷܔܶƫƸƣŏŤƸĪ¦ĪŃǀŧÿƸŏǜģĪƣŏŰŏƸÿƸżƣŏƫĜŊܫŤżŲƸƣÿƠǀŲŤƸŏƫĜŊĪŲ®ÿƸǭǝĪŏƫĪܷܡ܏®ĪĪÿŧƫż ŏěŏģ܏܉ڔڐܨڕڌÿŲģGÿŧŧŏÿŲż܉æƕŃŤÿǀ܉ڐڍܨڐڏ܏

ڷڵڴ ¼ÿŲÿŤÿ܉Nihon wasei no kisoܔƫĪĪ®ĪƣǜŏĜĪ܉ܶNÿƣŰżŲǣǀƸƫŏģĪƸŊĪSƣżŲ ÿŃĪ܏ܷ

/ǡþůƟŦĩڗܘڜܑ®ʼnǕţŎěʼnŎrŎƷƪƿţƿƢŎܒþƪʼnƔţŎţƔƪʼnǕܩږڞژڕܞژږܪܒűŻܘݗڗܑܿÃůþűŎűĩƷĩ݀ܩSƪŦĩƟƷŻűůǢʼnŻƢƪĩܪ

/ǡþůƟŦĩڗܘڝܑ®ʼnǕţŎěʼnŎrŎƷƪƿţƿƢŎܒþƪʼnƔţŎţƔƪʼnǕܩږڞژڕܞژږܪܒűŻܘڛܑܿ®ʼnŎǬƿţþƪþǢþ݀ܩȄĩƪƷŎŦŦűĩƪƪܪ

/ǡþůƟŦĩڗܘڞܑFƿůŎŻNþǢþƪþţþܒPiano Pieces (£ŎþűŻƪʼnƔʼnŎűƪʼnǕ)ܒűŻܘږږ

7

14

21

28

34

żƠǣƣŏŃŊƸޣڎڌڌڎðĪŲܫŲrǀƫŏĜ żŰƠÿŲǣhŏŰŏƸĪģ

®ƿěʼnþƪǢƪƷĩůþƷŎěěŻűƪƷƢƿěƷŎŻűŻŁdþƟþűĩƪĩʼnþƢůŻűǢƪƟþƢţĩĢěƢŎƷŎěŎƪůŁƢŻůNþǢþƪþţþǜʼnŻ ƢĩŁƿƷĩĢþűƿůĚĩƢŻŁƷʼnĩƪŻűŻƢŎƷŎĩƪŎűƷƢŻĢƿěĩĢĚǢ¼þűþţþŎűþűþƢƷŎěŦĩŁƢŻůڐژړڐþűĢŎűʼnŎƪڐژړڑ treatise Nihonteki ongakuron ܣ¼ƢĩþƷŎƪĩŻŁdþƟþűĩƪĩrƿƪŎěܤܒNþǢþƪþţþܼƪěŻůƟŦþŎűƷƢĩƪƷĩĢŻű¼þ-űþţþܼƪƢĩŦŎþűěĩŻűƪƷþěţĩĢƷʼnŎƢĢƪ܌þűĢŎűƷƿƢűþƟƟĩűĢĩĢþűƿůĚĩƢŻŁ¼þűþţþܼƪěʼnŻƢĢƪĚǢþĢĢŎűł second- and fourth-intervals as well as excluding several chords entirely from the system of

“Japanese harmony.”^ڜښښ

NþǢþƪþţþܼƪڐږ short Piano Pieces (£ŎþűŻƪʼnƔʼnŎűƪʼnǕ܌ڐژړڐܤĢĩůŻűƪƷƢþƷĩƷʼnŎƪܹůŻĢĩƢűŎƪƷܺþƟ-proach to Japanese harmony while remaining indebted to traditional scalar and melodic struc-tures^ڜښڛܫþűþƟƟƢŻþěʼnǜʼnŎěʼnƟƢŻǛŎĢĩĢƷʼnĩƟŻŎűƷŻŁĢĩƟþƢƷƿƢĩŁŻƢƷʼnĩǢŻƿűł¼ƔƢƿ¼þţĩůŎƷƪƿ þǼƷĩƢڐژړڔ܌ǜʼnŻěŻűƪŎĢĩƢĩĢNþǢþƪþţþʼnŎƪůŻƪƷŎůƟŻƢƷþűƷůĩűƷŻƢܒtŻܒݑڐڐŁƢŻůƷʼnŎƪěǢěŦĩܣ/ǡܒݑڑܒژܤ ěŦĩþƢŦǢĢĩůŻűƪƷƢþƷĩƪǜʼnþƷěþűĚĩĢĩƪěƢŎĚĩĢþƪƷʼnĩůþŎűŁĩþƷƿƢĩŻŁNþǢþƪþţþܼƪܹěŻƢƢĩěƷŎŻűƪܺŻŁ

¼þűþţþܼƪěʼnŻƢĢƟƢŻłƢĩƪƪŎŻűƪ܋ʼnĩþŦǜþǢƪƟƢŻŦŻűłƪƟŎƷěʼnĩƪŻŁƷʼnĩȀƢƪƷěʼnŻƢĢŎűƷŻƷʼnĩƪĩěŻűĢܹƢĩƪŻ-ŦƿƷŎŻűܺěʼnŻƢĢ܌ƢĩƪƿŦƷŎűłŎűůþŠŻƢƪĩěŻűĢƪܣŎűŁĩǜěþƪĩƪþŦƪŻůŎűŻƢƪĩěŻűĢƪܤþűĢŁŻƿƢƷʼnƪܒSűƷʼnĩ ƟŎþűŻƟŎĩěĩƷʼnĩƟŎƷěʼněŻűƷĩűƷŎƪƪŦŻǜŦǢĩǡƟþűĢĩĢŁƢŻů/K-F-BKŎűůĩþƪƿƢĩƪڐƷŻږȀƢƪƷĚǢþĢĢŎűł CK and AK܌ěŦĩþƢŦǢĩƪƷþĚŦŎƪʼnŎűł/KܣůŻƪƷŦǢěŻůĚŎűĩĢǜŎƷʼnƷʼnĩƪŎůƿŦƷþűĩŻƿƪƿƟƟĩƢܮƪĩěŻűĢFܤþƪþ pitch center of a ritsuܮƷǢƟĩƪěþŦĩǜŎƷʼnŻƿƷþƷʼnŎƢĢƪěþŦĩĢĩłƢĩĩܣ/K-F-AK-BK-CKܤܒFƢŻůůĩþƪƿƢĩڐږ þŦƷĩƢþƷŎŻűƪþƢĩŎűƷƢŻĢƿěĩĢ܌űþůĩŦǢ/ and B as well as GK and FKܣůůܒݑڑڏܫڑڐܤ܌ƢĩƪƿŦƷŎűłŎűĢŎƪ-ƪŻűþűƷƪŻűŻƢŎƷŎĩƪŦŎţĩ/-AKܮ/KܣůůܒݑڐږܫڑڐܤƷʼnþƷěþűĚĩƿűĢĩƢƪƷŻŻĢþƪܹǛĩƢƷŎěþŦŎǬþƷŎŻűƪܺŻŁƷʼnĩ ůŎǢþţŻĚƿƪʼnŎƷƢŎěʼnŻƢĢ/K-FKܣ/ܤܮK which is concurrently introduced in the bass line. A similar approach is applied to the ůŎǢþţŻĚƿƪʼnŎ tetrachord on BKĢƿƢŎűłƷʼnĩűĩǡƷƪĩěƷŎŻűܣůůܒݑڑڑܫڑږܤ܌

resulting in a transposition of the dissonant sonority to CK-F-BKܒȃĩƢĩůþŎűŎűłƷǜŻƪĩěƷŎŻűƪ ƢĩƪƷþĚŎŦŎǬĩƷʼnĩƪŎůƟŦĩůŻĢþŦƪŎƷƿþƷŎŻűŻŁƷʼnĩĚĩłŎűűŎűł܌ƷʼnĩƟŎƷěʼněŻűƷĩűƷŎƪƢĩƪƷƢŎěƷĩĢƷŻ/K-F-AK-BK-CKĚƿƷűŻǜĢŎƪƪŻűþűƷěʼnŻƢĢƪþƢĩþĢĢĩĢܣůůܒݑڑڗܫڒڐ܋/K-F-CKܮ/Kܗůůܒݑڒړܫڒڔ Kܮ/K-F-BKܤ ƷʼnþƷþłþŎűþƢĩǛĩƢƷŎěþŦŎǬþƷŎŻűƪŻŁƷʼnĩůŻĢĩܼƪƟŎƷěʼněŻűƷĩűƷܒȃĩůŎűŻƢƪĩěŻűĢK-CK in the pen-ultimate measure, resolving into BKŎűƷʼnĩǛĩƢǢŦþƪƷůĩþƪƿƢĩ܌ůþţĩƪƷʼnŎƪƟƢŎűěŎƟŦĩŻŁƪŎůƿŦƷþűܮ eous modal pitches evident.

ȃĩ ŎűƷŎůþƷĩ ǜƢŎƷŎűł ƪƷǢŦĩ ŻŁ NþǢþƪþţþܼƪ Piano Pieces ůþƢţƪ þ ȀƢƪƷ ƪƷĩƟ ŎűƷŻ Ʒʼnĩ ěŻůƟŻƪܮ ĩƢܼƪܹŎűűĩƢĩůŎłƢþƷŎŻűܺĢƿƢŎűłƷʼnĩǜþƢǢĩþƢƪܒȃĩůŻƪƷŎůƟƢĩƪƪŎǛĩĢŻěƿůĩűƷŻŁƷʼnŎƪƟĩƢŎŻĢŎƪ the cycle FŻƿƢÃűþěěŻůƟþűŎĩĢ®ŻűłƪƷŻ£ŻĩůƪĚǢNþƢƿŻ(NþƢƿŻűŻƪʼnŎűŎǢŻƢƿǢŻƷƷƪƿűŻůƿĚþűƪƔ ţþţǢŻţƿܤŁŻƢƪŻŦŻǛŻŎěĩ܌ěŻůƟŻƪĩĢŎűڐژړڒܘړړŻűƟŻĩůƪĚǢNþƢƿŻ®þƷƔܣڐڗژڑܫڐژڕړܤþűĢþŦŦƿĢŎűł to ancient unaccompanied vocal music genres of the court music gagaku such as ƢƔĩŎ. Although űŻƪŦŎĢŎűłĚǢłŦŎƪƪþűĢŻŎƪŎűĢŎěþƷĩĢ܌ƷʼnĩěŻűƪƷþűƷŦǢƿƪĩĢŁþƪƷȀłƿƢĩƪƢĩƪƿŦƷŎűƪŦŎĢĩܮŻƢƟŻƢƷþ-ůĩűƷŻܮŦŎţĩǛŻěþŦþƢƷŎěƿŦþƷŎŻűƪܒłþŎű܌þůŻĢĩܮĚþƪĩĢǜƢŎƷŎűłǜŎƷʼněŻűƷŎűƿŻƿƪŦǢþŦƷĩƢĩĢƪěþŦĩ ĢĩłƢĩĩƪŎƪĩǛŎĢĩűƷܒȃĩȀƢƪƷƪŻűłܣ/ǡܒݑڑܒڐڏܤ܌ĩǛŻţŎűłƷʼnĩƿűŎơƿĩƪŎűłŎűłŻŁƷʼnĩdþƟþűĩƪĩƿƪʼn Warbler (uguisuܤ܌þĚŎƢĢƢĩƟĩþƷĩĢŦǢĢĩƪěƢŎĚĩĢŎűěŦþƪƪŎěþŦdþƟþűĩƪĩƟŻĩƷƢǢŻŁƷʼnĩrþű݂ǢƔƪʼnǕݗ(com-ƟŎŦĩĢěܒݑږڔژܤ܌ŎƪĚþƪĩĢŻűǜŎƷʼnƷʼnĩƪĩěŻűĢ܌ȀǼƷʼn܌þűĢƪŎǡƷʼnƪěþŦĩĢĩłƢĩĩƪƢĩƟĩþƷĩĢŦǢƪǜŎƷěʼnŎűł ĚĩƷǜĩĩűƷǜŻǛþƢŎþűƷƪܣ ܘ ܌FܘF܌GܘGܤܒNþǢþƪþţþܼƪþűĢrŎƷƪƿţƿƢŎܼƪƷĩěʼnűŎơƿĩƪŻŁʼnþƢůŻűŎě ǜƢŎƷŎűłþƢĩƷʼnĩƢĩŁŻƢĩůƿěʼněŦŻƪĩƢƢĩŦþƷĩĢƷʼnþűŻűĩůŎłʼnƷĩǡƟĩěƷŻűȀƢƪƷʼnĩþƢŎűłܒ

***

àþƢƷŎůĩdþƟþűĩƪĩűþƷŎŻűþŦŎƪů܌þƪ'þǛŎĢ£þěƿűʼnþƪĢĩůŻűƪƷƢþƷĩĢ܌ŎűǴ ŦƿĩűěĩĢƷʼnĩĢŎƪěƿƪƪŎŻűƪ on “Japanese harmony” in multiple ways, turning the debates on harmonic details into “ideo-ڷڵڵ NÿǣÿƫÿŤÿ܉ܶ¼ÿŲÿŤÿŊÿŤǀƫŊŏŲżNihon wasei no kiso ni oite no shiken܉ܷNÿǣÿƫÿŤÿ܉Nihonteki ongakuronܔƫĪĪGÿŧŧŏÿŲż܉

æƕŃŤÿǀ܉ڒڕܨړڎ܉ڔړ܏

ڷڵڶ See Pacun, ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ®ƸǣŧĪŏŲSŲƸĪƣǝÿƣæƕŃÿŤǀ܉ܷڏڏܨڏڒ܏

/ǡþůƟŦĩڗܘږڕܑFƿůŎŻNþǢþƪþţþܒFour Unaccompanied Songs to Poems by Haruo (Haruo no shi ni

logical hair splitting.”^ڜښڜàŎƷʼnŎűþŁĩǜǢĩþƢƪܼƷŎůĩ܌rŎƷƪƿţƿƢŎܼƪŻƢNþǢþƪþţþܼƪƢĩȀűĩĢʼnþƢůŻűŎě ĩŦþĚŻƢþƷŎŻűƪǜĩƢĩƷƿƢűĩĢŎűƷŻƷŻŻŦƪŻŁƟƢŻƟþłþűĢþ܌ěƿŦůŎűþƷŎűłþƷƷʼnĩěŻűŁĩƢĩűěĩܹǛĩƢěŻůܮ Ŏűł rŻĢĩƢűŎƷǢܺ Ŏű dƿŦǢ ڐژړڑ ܣދݑ Sܒڑ܌ ¦ĩdz ŦĩǡŎǛĩ GŦŻĚþŦŎǬþƷŎŻűܤܒ Ʒ Ʒʼnĩ ƪþůĩ ƷŎůĩ܌ 'ĩŦþłĩ ƷƿƢűĩĢ away from the enthusiasm of his earlier periods and into “inner emigration” during the war, þŦŦĩłĩĢŦǢܫƪŎůŎŦþƢŦǢƷŻűƷŻűàĩĚĩƢűܫƪǢůƟþƷʼnŎǬŎűłǜŎƷʼnƷʼnĩGĩƢůþűtþǬŎŻěěƿƟŎĩƢƪܒ^ڜښڝ

'ĩŦþłĩ܌ ŻǜĩŦŦ܌ rŎƷƪƿţƿƢŎ܌ þűĢ NþǢþƪþţþ ěŻűƪŎĢĩƢþĚŦǢ ŎűǛŎłŻƢþƷĩĢ Ʒʼnĩ ŎűƷĩƢűþƷŎŻűþŦŎǬþ-ƷŎŻűþűĢłŦŻĚþŦŎǬþƷŎŻűŻŁůƿƪŎěŎűƷʼnĩŎƢƢĩƪƟĩěƷŎǛĩěŻƿűƷƢŎĩƪŻŁFƢþűěĩ܌ƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪ܌þűĢ dþƟþűܒƟĩƢƪŻűþŦĩűěŻƿűƷĩƢĚĩƷǜĩĩűƷʼnĩƪĩěŻůƟŻƪĩƢƪŎƪűŻƷĢŻěƿůĩűƷĩĢܒ'ĩŦþłĩþűĢ ŻǜĩŦŦ ůþǢʼnþǛĩůĩƷþƷþƟƢŎǛþƷĩěŻűěĩƢƷƷʼnþƷ ŻǜĩŦŦłþǛĩŎű£þƢŎƪŎűڐژڑڒþűĢŁŻƢǜʼnŎěʼnĪŦþþƢƷżţ þŦŦĩłĩĢŦǢʼnþĢþƪƪĩůĚŦĩĢ¦þǛĩŦ܌ĢĩFþŦŦþ܌NŻűĩłłĩƢ܌rŎŦʼnþƿĢ܌£ƢƿűŎĸƢĩƪ܌þűĢ¦ŻƿƪƪĩŦþƪþűĩǡ-clusive audience.^ڜښڞ ŻǜĩŦŦþűĢrŎƷƪƿţƿƢŎůþǢʼnþǛĩěƢŻƪƪĩĢƟþƷʼnƪþƷþűS® rŁĩƪƷŎǛþŦŎűƷʼnĩ ƟŻƪƷǜþƢƟĩƢŎŻĢŻƢĢƿƢŎűł ŻǜĩŦŦܼƪƪƷþǢƪŎűdþƟþűŎűڐژڔڔþűĢڐژڕڐܣދSSܒڔܤܒȃĩŁŻěƿƪŻŁůǢþƢłƿ-ůĩűƷ܌ŻŁěŻƿƢƪĩ܌ʼnþƪűŻƷĚĩĩűƷʼnĩƟĩƢƪŻűþŦŎűƷĩƢþěƷŎŻűŻƢŎűǴ ŦƿĩűěĩƪĚĩƷǜĩĩűƷʼnĩƪĩěŻůƟŻƪĩƢƪ ĚƿƷƷʼnĩơƿĩƪƷŎŻűŻŁʼnŻǜƷʼnĩŎƢǜŻƢţƪůþǢĩǡĩůƟŦŎŁǢƷʼnĩܹűŻűܮƪŎůƿŦƷþűĩŎƷǢŻŁƷʼnĩƪŎůƿŦƷþűĩŻƿƪܺ

in global music history.

Starting by summarizing the commonalities, we can highlight that all four composers were proactive founding members of composers’ societies that were conceived in direct opposition ƷŻĢŻůŎűþűƷěŻűƪĩƢǛþƷŎǛĩěŻůƟŻƪĩƢƪŻŁŻŦĢĩƢłĩűĩƢþƷŎŻűƪܒȃĩƪĩłƢŻƿƟƪƷʼnƿƪþŦŦƢĩǴ ŦĩěƷĩĢěƢŎƷŎ-cally on a hierarchical, paternalistic social system in the arts with strong nationalist tendencies and showed the necessity for the younger generation to establish itself by setting up their own ŎűƪƷŎƷƿƷŎŻűþŦ þűĢ þƢƷŎƪƷŎě ŎűŁƢþƪƷƢƿěƷƿƢĩ܋ ůƿƪŎěŎþűƪ܌ ĩűƪĩůĚŦĩƪ܌ ěŻűěĩƢƷ ʼnþŦŦƪ܌ ŻƢłþűŎǬþƷŎŻű܌

and funding (in all societies, the founding composers also frequently acted as performers and, ŻŁěŻƿƢƪĩ܌þƪŻƢłþűŎǬĩƢƪ܌ƿƪƿþŦŦǢǜŎƷʼnŻƿƷƢĩěĩŎǛŎűłþűǢƟþǢůĩűƷܤܒtþƷƿƢþŦŦǢ܌ƷʼnŎƪƟƢŻěĩƪƪʼnþĢ ơƿŎƷĩĢŎDzŁĩƢĩűƷŎůƟŦŎěþƷŎŻűƪŎűڐژڏژ£þƢŎƪ܌Ŏűڐژڑړ þŦŎŁŻƢűŎþ܌Ŏűڐژڒڏ¼ŻţǢŻ܌þűĢŎűڐژڒړ®þƟƟŻƢŻܒ

While internationalism was employed in all these cases as a main counterdiscourse against the aesthetics of the dominating repertoire in concert life and compositional production, ƷƢŻƟĩƪŻŁűþƷŎŻűþŦƪƷǢŦĩǜĩƢĩűŻƷþƷþŦŦþĚƪĩűƷŁƢŻůƷʼnĩłƢŻƿƟܼƪĢŎƪěŻƿƢƪĩƪܒSűڐژڒڏƪdþƟþű܌þ ƢĩȀűĩĢ þƟƟƢŻþěʼn ƷŻǜþƢĢ dþƟþűĩƪĩ ůƿƪŎě ǜþƪ ŎűĢĩĩĢ Ʒʼnĩ ƟƢĩěŻűĢŎƷŎŻű ŁŻƢ þű ĩůþűěŎƟþƷŎŻű ŁƢŻůƪŎǡĢĩěþĢĩƪŻŁůþƪƪŎǛĩ/ƿƢŻƟĩþűŎűǴ ŦƿĩűěĩŻűůƿƪŎěþŦƟƢŻĢƿěƷŎŻű܌ƢĩƪƿŦƷŎűłŎűþƷǢƟĩŻŁ modernity-related cultural confusion that had been described as early as 1912 as “complicated and intricate” (fukuzatsu hansaܤĚǢƷʼnĩǜƢŎƷĩƢ®þţƿƷþƢƔNþłŎǜþƢþܣڐڗڗڕܫڐژړڑܤܒ^ڜښڟ Similar to pre-àŻƢŦĢܮàþƢܮSűþƷŎŻűþŦŎƪůŎűFƢþűěĩþűĢƷʼnĩGƢĩþƷ'ĩƟƢĩƪƪŎŻűŎűƷʼnĩÃűŎƷĩĢ®ƷþƷĩƪĢƿƢŎűłƷʼnĩ ĩþƢŦǢڐژڒڏƪ܌ƷʼnĩŎűěƢĩþƪŎűłŦǢȀĩƢěĩƟŻŦŎƷŎěþŦűþƷŎŻűþŦŎƪůŎűdþƟþűƪŎűěĩƷʼnĩŦþƷĩڐژڒڏƪŎűĩǛŎƷþĚŦǢ puts the Japanese composers’ activities during that period in a politically charged context. More- ŻǛĩƢ܌Ʒʼnĩ£þƢŎƪŎþű܌ þŦŎŁŻƢűŎþű܌þűĢ¼ŻţǢŻƪŻěŎĩƷŎĩƪʼnþĢŦŻƪƷƷʼnĩŎƢǛþűłƿþƢĢƪƷþƷƿƪþǼƷĩƢþŁĩǜ years and turned into nationwide organizations, necessarily losing the initial rigor of their aesthetic programs. We can therefore say that the institutional context in which these four composers operated, and which was evidently crucial for the development of their aesthetic ŎĢĩþƪ܌ǜþƪĢĩĩƟŦǢƪʼnþƟĩĢþűĢŎűǴ ŦƿĩűěĩĢĚǢŦŻěþŦƟŻŦŎƷŎěƪþűĢƪŻěŎĩƷǢܒȃĩǜŻƢŦĢǜþƢƪƷʼnþƷŁŻŦܮ lowed interrupted the optimistic internationalism of the enthusiastic early periods.

ƪĢŎƪěƿƪƪĩĢĩþƢŦŎĩƢܣދSSܒڐܤ܌ƷʼnĩůŻĢĩŦŻŁþܹűŻűܮƪŎůƿŦƷþűĩŎƷǢŻŁƷʼnĩƪŎůƿŦƷþűĩŻƿƪܺůŎłʼnƷ be expanded in two directions, either highlighting the entanglement of aesthetic ideas in a ڷڵڷ £ÿĜǀŲ܉ܶtÿƸŏżŲÿŧŏƫŰÿŲģrǀƫŏĜÿŧ®ƸǣŧĪŏŲSŲƸĪƣǝÿƣæƕŃÿŤǀ܉ܷڎڒ܏

ڷڵڸ GżƣģżŲ܉ܶ'ŏƫĜżǜĪƣŏŲŃrÿǀƣŏĜĪ'ĪŧÿŃĪ܉ܷڎڕڔܨڎڕڕ܏

ڷڵڹ Sachs, Henry Cowell܉ڍڎڎ܏

ڷڵں Menzel, NƕŃÿŤǀ܉ڐړܨڐڕ܏

global context, thus suggesting an “entangled history,” or rather their distinction and inde-ƟĩűĢĩűěĩ܌ƷʼnƿƪƪƿłłĩƪƷŎűł/ŎƪĩűƪƷþĢƷܼƪܹůƿŦƷŎƟŦĩůŻĢĩƢűŎƷŎĩƪܒܺ¼ŻĚŎþƪdþűǬʼnþƪƢĩěĩűƷŦǢĢŎƪܮ cussed the option of multiple musical modernities as a music-historiographical model at length, choosing Japan as a case study.^ڜښڠNĩŻƿƷŦŎűĩƪƷʼnĩĢŎDzȀěƿŦƷǢŻŁƢĩěŻűěŎŦŎűł܌ŻűƷʼnĩŻűĩʼnþűĢƷʼnĩ close interaction between Japanese and Western music since the Meiji era and, on the other, the particular situation and “uniqueness” of Japanese music history, with its ǢƔłþţƿ-ʼnƔłþţƿ sepa-ƢþƷŎŻűþűĢŎűƷĩƢþěƷŎŻűܒĢŻƟƷŎűłþƪţĩƟƷŎěþŦƟŻƪŎƷŎŻűƷŻǜþƢĢdþƟþűĩƪĩƟĩěƿŦŎþƢŎƷǢƪƿěʼnþƪƷʼnþƷ ŻŁƟʼnŎŦŻƪŻƟʼnĩƢrþƪþŻrþƢƿǢþůþܣދݑSSSܒړܤ܌dþűǬþƢƢŎǛĩƪþƷƷʼnĩěþƢĩŁƿŦěŻűěŦƿƪŎŻűƷʼnþƷܹƷʼnĩŎůþłܮ ination of an autochthonous, incommensurable musical culture of Japan gave way to a poly- ƟʼnŻűǢŻŁěŻůƟŦĩƷĩŦǢĢŎDzŁĩƢĩűƷŎűƷĩƢĩƪƷƪŎűdþƟþűĩƪĩůƿƪŎěþŦůŻĢĩƢűŎƷǢ܌ܺ^ڜښڡ demanding a sen-ƪŎƷŎǛĩʼnŎƪƷŻƢŎŻłƢþƟʼnŎěþŦŁƢþůĩǜŻƢţƷʼnþƷěþűþěěŻƿűƷŁŻƢěƿŦƷƿƢþŦĢŎDzŁĩƢĩűěĩǜŎƷʼnŻƿƷűĩłþƷŎűł the highly entangled manner in which Western and Japanese modernities are cross-related.

It seems therefore, that the “entangled history” model is ultimately a more useful approach, ĩƪƟĩěŎþŦŦǢŁŻƢþěŻűěŦƿƪŎŻűƷŻƷʼnĩůþƷĩƢŎþŦƪƟƢĩƪĩűƷĩĢŎűƷʼnŎƪěʼnþƟƷĩƢ܋ƷʼnþƷ'ĩŦþłĩþűĢrŎƷƪƿܮ ţƿƢŎěʼnŻƪĩƷŻƪĩƷƷƢþĢŎƷŎŻűþŦdþƟþűĩƪĩƟŻĩůƪܣhaikai resp. haikuܤŎűĩǡƷƢĩůĩŦǢƪʼnŻƢƷƟŎĩěĩƪ܌ǜŎƷʼn a harmony based on drone and ostinato structures and multiply chromaticized modes, might ĚĩěŻűƪŎĢĩƢĩĢþƟþƢƷŎěƿŦþƢŦǢĩǛŎĢĩűƷěþƪĩŻŁĩűƷþűłŦĩůĩűƷܒŁěŻƿƢƪĩ܌ƷʼnĩƪĩƷǜŻǜŻƢţƪʼnþǛĩ to be considered in broader contexts, such as the anti-Romanticist turn to aphoristic forms around 1910 shared by composers worldwide.^ڜښڢrŻƢĩƪƟĩěŎȀěþŦŦǢ܌ĚŻƷʼn'ĩŦþłĩþűĢrŎƷƪƿţƿƢŎ ǜĩƢĩŎűĢĩĚƷĩĢƷŻ'ĩĚƿƪƪǢܼƪþűĢ¦þǛĩŦܼƪʼnþƢůŻűŎěŎűűŻǛþƷŎŻűƪþƪǜĩŦŦþƪƷʼnĩŎƢĩǡƟĩƢŎĩűěĩƪŻŁ Japanese ʼnƔłþţƿ܌þŎůŎűłƷŻƢĩþěʼnĚĩǢŻűĢŻƢŎĩűƷþŦŎƪƷěŦŎěʼnĪƪܒ'ĩƪƟŎƷĩƪƿěʼnƪŎůŎŦþƢŎƷŎĩƪ܌þơƿþƪŎܮ ĩƷʼnűŻłƢþƟʼnŎěþŦþƟƟƢŻþěʼnþƪĢŻěƿůĩűƷĩĢŎű'ĩŦþłĩܼƪSűĢŎþűܮŎűƪƟŎƢĩĢǜŻƢţƪěŦĩþƢŦǢěŻűƷƢþƪƷƪ with Cowell’s attempt in the United Quartet to extract commonalities from diverse “primitive musics,” necessarily eradicating distinguishing features of individual traditions. Still, these þƟƟƢŻþěʼnĩƪþƢĩܹĩűƷþűłŦĩĢܺĚǢƷʼnĩŎƢŎűƷĩűƷŎŻű܌þŦƪŻƪʼnþƢĩĢĚǢrŎƷƪƿţƿƢŎþűĢNþǢþƪþţþ܌ƷŻƢĩ-ěŻűěĩŎǛĩűŻűܮàĩƪƷĩƢűůƿƪŎěƪþƪþěŻƿűƷĩƢĢŎƪěŻƿƢƪĩƷŻþ/ƿƢŻƟĩþű ŦþƪƪŎěþŦܮ¦ŻůþűƷŎěƷƢþĢŎ-tion that seemed to provide inappropriate tools for responding to the social and aesthetic prob-ŦĩůƪŻŁůƿƪŎěܮůþţŎűłŎűþłŦŻĚþŦŎǬŎűłůŻĢĩƢűŎƷǢܒ

SűƷʼnĩǜŻƢţƪŻŁƷʼnĩƪĩŁŻƿƢěŻůƟŻƪĩƢƪ܌ǜĩěþűƷʼnĩƢĩŁŻƢĩȀűĢƪƿƢƟƢŎƪŎűłěŻűǛĩƢłĩűěĩƪƷʼnþƷ hint at the tentative beginnings of a transnational musical modernity. But the divergences, which can be attributed primarily to the institutional, social, and political contexts of their ǜŻƢţ܌ůþţĩŎƷűĩěĩƪƪþƢǢƷŻěŻűěŦƿĢĩƷʼnþƷŎƷǜþƪŎůƟŻƪƪŎĚŦĩŁŻƢƷʼnŎƪƷƢþűƪűþƷŎŻűþŦůƿƪŎěþŦůŻ-ĢĩƢűŎƷǢƷŻĚŦŻƪƪŻůþűĢƷŻĢĩǛĩŦŻƟĚĩŁŻƢĩڐژړڔܒƪƷʼnĩŁŻŦŦŻǜŎűłěʼnþƟƷĩƢǜŎŦŦĢĩůŻűƪƷƢþƷĩ܌ĩǛĩű þǼƷĩƢڐژړڔ܌ŎűƪƷŎƷƿƷŎŻűþŦþűĢƟŻŦŎƷŎěþŦƢĩƪƷƢŎěƷŎŻűƪěŻűƪŎĢĩƢþĚŦǢŻĚƪƷƢƿěƷĩĢĚþŦþűěĩĢŁŻƢůƪŻŁ transnational music-aesthetic exchange.

ڷڵڻ dÿŲǭ܉ܶrǀŧƸŏƠŧĪrǀƫŏĜÿŧrżģĪƣŲŏƸŏĪƫܐܷ

ڷڵڼ Sěŏģ܏܉ڏڌڍ܏

ڷڵڽ See Obert, Musikalische Kürze.

5. Re-Reading the Impact of the “Cultural Cold War”

Im Dokument Music and Sound Culture (Seite 94-115)