Masao Honma was born in 1930 in Aomori Prefecture in northern Japan. He entered Nihon University (School of Fine Arts, Department of Music) in Tokyo in 1951 where he studied harmony and counterpoint under Kanji Tonosaki and harmony and composition under Kiyohiko Kijima. In 1954 his String Quartet No. 1 won the First Prize at the 23rd Japan Music Competition (Chamber Music Division). His works have been performed in Tokyo mostly by composers' groups known as "Ashi no Kai" and the "Japan Society for Contemporary Music" (ISCM, Japan Chapter).
In 1974 Mr. Honma was offered an assistant professorship in music at Miyagi University of Education in Sendai, and in 1979 became Professor of Music. He retired from this position in March 1994. In 1984 Honma was awarded the Miyagi Prefecture Arts Prize. He was one of the main organizers and a member of the Executive Committee of the Asian Music Festival 1990 and 1992 in Sendai.
Mr. Honma is a member of the ISCM and JFC (Japan Federation of Composers). His works have been performed in China, Australia, New Zealand, Canada, Europe, the United States, as well as all over Japan.
Please forgive me for speaking slowly in Japanese. My English is very poor.
My first formal composition was a string quartet in four movements, written in 1954. It was composed after 5 years of training in Western music, when I was 24 years old. The style of this work had a tendency towards neo-classicism. This work received First Prize in the 23rd Japan Music Competition, which motivated me to continue composing.
I began using 12-tone technique around 1955 and continued using it until around 1964. During this time, I also began to develop interest in "Japanese sensitivity to music." From here on, I would like to call this "Japanese musicality."
Starting around 1965, some distinct characteristics gradually began to appear in my compositions. I believe these characteristics developed as a result of the following ideas:
1) Starting from "Japanese musicality" which is within myself.
2) Composing as a result of my awareness of the stimulation of sounds and music surrounding myself.
In order to deepen understanding of these two ideas, I would like to express my thoughts on people and music.
Music exists having distinct social functions and styles, according to different periods or peoples. In general, music having an artistic function is based on the characteristics of ethnic music and sounds. Such ethnic music and sounds are used by each people in their everyday life. I agree with the concept that in most cases, the ethnic music and sounds are influenced by the musical characteristics of the language of each people. I also agree with the following concept: It is often said that "music has no border line" or that "music is a universal language." However, these expressions are not accurate. It is true that music has aspects which are common to many peoples. So it is important and necessary that different cultural spheres communicate by depending on these aspects. However, what is more important is that we must acknowledge the fact that each people possesses characteristic ethnic musicality. It is in such musicality that we find the most significant characteristics. I believe that now is the time which is most necessary for us to make efforts to understand other ethnic characteristics.
Now I would like to speak on "Japanese musicality" which is within myself.
It is obvious that in traditional Japanese art music, such as Gagaku, Noh-gaku, music for shamisen or koto or shakuhachi, "Japanese musicality" is evident. The basis of this musicality in its simplest form can be found in ethnic music and sounds. These ethnic music and sounds are deeply related to everyday life. For example, in incantations, or in shouting together for uniting an action, or in children's playsongs, the basis of "Japanese musicality" can be found. Often in these conducts, the people doing them are not aware of the fact that they are experiencing a musical behavior.
As one example of incantation, I would like you to hear the voice of a sacred woman called "itako." This voice is believed to be that of a dead person who has been called from the spiritual world.
TAPE
The "itako" still exists in the Tsugaru Area of Aomori Prefecture, which is on the northern tip of the main island of Japan. This voice sounds as though the Japanese language has been transformed into a simple melody.
As another example, I am reminded of my grandfather who, as he was reading the newspaper, would unconsciously read aloud. This reading aloud would become a melody of a sort, which is based on a simple Japanese mode. Furthermore, although this melody was simpler than that of the voice of the "itako," I can now appreciate the fact that the structure of the Japanese mode was accurate.
In the Tsugaru Area, where I grew up, there still exist many forms of folk arts. However, ever since I was a small child, I was taught that fine music came from the West. I myself believed this and studied Western music and began to compose in Western style. Gradually I realized that there was musicality within myself which was different from Western music. This different musicality was the "Japanese musicality" that I have been talking about. It was after 1965, when I started to not use the 12-tone technique, that this "Japanese musicality began to related deeply to the purpose of my composing.
For me, it is convenient to consider "Japanese musicality" from the following three angles:
As I have mentioned earlier, the starting point of my composing is "Japanese musicality," and in addition, I am aware that the stimulation of surrounding sounds and music play an important role in composing.
Now I would like to play for you a tape of my composition of 1984, commissioned by NHK Sendai. The title is Sokyo-hensei for Amplified 17-stringed Koto and Organ. In this work, I have attempted to combine, using a contemporary idiom, the sonorities of a traditional Japanese instrument (the koto) and a Western instrument (the organ). In listening to this work, perhaps you will understand some of my characteristics of composition. The duration is about 17 minutes.
TAPE
Finally, I would like to speak my thoughts on the meaning of my composing. For me, composing is a musical expression of what I presently feel is beautiful or pleasant or right. By sharing this musical expression with others, deep and correct mutual understanding can be obtained. This, I believe, is the meaning of composing. In addition, it is important for me to reach understanding first with those around me, which in turn, eventually results in international understanding. Even though more than half of my life has passed, I feel that I still have a long way to travel to attain my goal.