This paper focuses on a study of highly constrained traditional Japanese musical traits as applied to Western instruments, with a particular emphasis on solo violoncello. Part I of this paper discusses the historical and philosophical background of these constraints: the reasons for the retention of constraints on traditional instruments, and how they are perceived by Japanese musical aesthetics with a comparison to Western counterparts. Constant inquiry by musicians seeking new sounds has driven them to integrate the techniques of constrained instruments with highly developed Western instruments with capability of further extension of technique. This expands the possibility of further innovation of technique and timbre, which results in making a contribution to the broadening of present day music.
Next, existing scores are analyzed to study performance techniques and the construction of the composition. A close examination of Mayuzumi's Bunraku draws attention to the feasibility of the application of Japanese musical aspects on Western instruments despite obstacles such as the contrasting background of the instruments. This paper discusses the corresponding notation of innovative techniques. In addition, it discusses range, pitch collection, and harmony in relation to traditional Bunraku repertoires. Also, the results of numerous on-going experiments with a cellist and an analysis of my solo cello piece integrating the results of this research are discussed.
As a result of my research, I hope to be able to make a contribution to the understanding of the constraints of Japanese traditional music. I also endeavor to propose practical methods for the application of these traditional musical aspects in modern musical composition and performance.