Although Honma has written music for solo piano throughout his career, it was during the 1970's that he has established his own Japanese nationalistic language. Honma says he is trying "to create a contemporary sound structure based on rhythms and melodies derived from national music," and his is "as much as possible, searching for beauty of sound without the use of tri-chordal harmony."
All three of his published piano works, Cross-Mode (1978), Ostinato (1983), and Sound Shift No. 1 (1987), reflect his mature style through their 'employment of four Japanese tetrachords (the fourth-frame chords) identified by Japanese musicologist, Fumio Koizumi. The focus of this paper will be to trace and to analyze how Honma synthesizes these Japanese traditional elements in the above three works in order to create a unique language of his own - "music based on the Japanese sensitivity."
Along with the discussion of his music, Honma's direct views regarding influences from traditional Japanese, as well as classical Western music, and reactions to the suggestion of East-West amalgamation, will be shared in hand-out formats.
Shuko Watanabe received her early musical training in Japan. She attended the Kunitachi School of Music from 1968 to 1971, followed by three years of study with renowned Japanese pianist, Shuku Iwasaki. From 1974, Ms. Watanabe attended the Peabody Conservatory of Music as a scholarship student under Lillian Freundlich and completed her Bachelor and Masters degrees in Piano Performance. She earned a DMA at the University of Maryland, College Park, with professors Ray Luck, Stewart Gordon, and Roy Johnson.
Dr. Watanabe is engaged frequently as a soloist, chamber-music performer and as a lecturer. She has appeared throughout the Northeast, the South, and in Japan. Her performances have been regularly broadcast on Public Radio, WVTF FM 89.1. Her article, "Japanese Music: An East-West Synthesis," has been published in American Music Teacher, the official magazine of the Music Teachers National Association.
Dr. Watanabe has served at Peabody as a personal assistant to Mrs. Freundlich, taught at Hollins College, Virginia (1982-91), and is currently a Lecturer in Music at Washington and Lee University. She also serves as Music Director of the Unitarian Universalist Church of Roanoke, Virginia, where she directs the "Con Spirito" concert series.
Honma was born in the Aomori prefecture on 15 March 1930. In 1950, he graduated from Aomori Teacher's College. In 1954, Honma won first prize with his String Quartet No. 1 in the NHK-Mainichi Music Concours in chamber music. In 1956, he graduated from the music department of the School of Arts, Nihon University, where he studied with Kanji Tonosaki and Kinohiko Kijima. From 1956 until 1972, Honma was a member of Ashi-no-kai, organized by six composers, all graduates of Nihon University, who presented ten performances of Honma's works between 1956 and 1972. Currently, he is a member of the Japan Society of Contemporary Music and the Japan Federation of Composers. Honma taught at Wako Gakuen School as an instructor from 1958 until 1974; then, he became an Assistant Professor and eventually Professor of Music at the Miyagi University of Education.
Honma began his composing with a neo-classical approach based on polychords (bitonality, polytonality). Then, during the 1950s and 1960s, he mainly employed twelve-tone technique while paying serious attention to elements derivative of Japanese musical language. Starting in the 1970s, the desire to "create a contemporary sound structure based on rhythms and melodies derived from national [Japanese] music" led Honma to center his "compositional technique on the employment of the four Japanese fourth-frame chords (tetrachords devised by Fumio Koizumi) in various combinations." Honma says, "as much as possible, I am searching for beauty of sound without the use of tri-chordal harmony."
It is interesting to note that Japanese often prefer to utilize the interval of the fourth in many different types of music. Because many Japanese folk songs are narrow in range and often contain two to three key notes within their one octave range, the Japanese musicologist, Fumio Koizumi, drew the conclusion that the Japanese scale has a melodic construction based on two fourth-frame chords. Koizumi assigned the term "tetrachord" to these fourth-frame chords in his book, Nihon no Oto. However, throughout this paper, the author follows the term "fourth-frame" employed by Jan LaRue in The New Grove Dictionary of Music and Musicians. Each fourth-frame chord contains two kakuons (nuclear tones): the bottom and top notes of the fourth-frame chord in the interval of the perfect fourth. Koizumi coined this word, kakuon, out of necessity to explain the Japanese scale system, rather than using Western terms such as tonic, dominant, or subdominant. The Japanese fourth-frame chords are constructed with only three notes: two kakuons with one middle note. Koizumi arranged these fourth-frame chords into the following four categories according to the location of middle notes, as shown in Example 1. He named each fourth-frame chord for its frequency of employment by different types of music:
Koizumi further explains that some Japanese songs are constructed from as few as two to three notes. When only two notes are used for a song, its kakuon is always the upper note. When three notes are used for a song, the middle note is the kakuon. This definition is important when two fourth-frame chords are combined to form a scale. The fourth-frame chords can be juxtaposed in a conjunct or disjunct manner. When two fourth-frame chords are used in a disjunct manner, the decision as to which of two kakuons next to each other should be more important is based on the theory of narrow melodic construction. These scales can be grouped into miyako-bushi/ritsu and minyo/ryukyu, since each pair shares common letter names. The distinction between yo-sen (scale without semitone) and in-sen (scale with semitone) only applies to the first group in which the ritsu scale is the yo-sen, and the miyako-bushi scale is the in-sen. The fourth-frame chords, as well as the modes shown in Example 2, are their basic structures. They can be combined, interchanged, or modulated depending on the usage. Such combinations as the minyo fourth-frame chord for the lower part and the miyako-bushi fourth-frame chord for the upper part of the scale structure (Example 3) are quite common. When the miyako-bushi fourth-frame chord is utilized as the upper part of the scale in a conjunctive manner (Example 4), the resulting intervals are a perfect fourth, tritone, and minor seventh. It is an important observation that an emphasis on the interval of minor seventh occurs when any two fourth-frame chords are conjoined in a conjunctive manner.
Example 1. Japanese Fourth-frame Chords.
(Fourth-frame Chord=F.C.)
Example 2. Japanese Folk Modes.
Example 3. A Mixed Mode Constructed with Minyo and Miyako-bushi.
Example 4. Conjuncted Modes with Miyako-bushi as the Upper Fourth-Frame Chord.
As far as the rhythmic structure is concerned, most Japanese folk music may be placed into two categories: yagi-bushi style in a regular beat; and oiwake style, with its uncountable temporal structure. The yagi-bushi style has a regular pulse in 2/4 time and rarely employs triple meter. It is commonly used in group songs or songs with the instrumental accompaniment of shamisen or drums. The interval range of the music is fairly limited, and there is very little use of melismatic vocal technique. Contrary to the yagi-bushi style, the oiwake style incorporates extensive melismatic lines over a wide range. Because of the obsessive persistence of melismatic lines, the beat has been pushed aside, and is uncountable in the metronomic sense. Thus oiwake is the appropriate style for solo voice and solo shakuhachi playing.
Honma's first published piano work, Cross-Mode (1978), reflects his mature style through its employment of Japanese traditional elements. Cross-Mode (Example 5) opens dramatically with two sixteenth-note clusters that utilize intervals that are characteristic of Japanese fourth-frame chords; i.e., major and minor seconds and perfect fourths. It then proceeds to another chord which is derived from the miyako-bushi (B, C, E) and ritsu (D-sharp, F [E-sharp], G-sharp) fourth-frame chords. Following the opening chords, an eighth note pattern begins. This pattern is based on the minyo folk mode on E-flat (E-flat, G-flat, A-flat, B-flat, D-flat, E-flat) and has five flats in the key signature. A counter-line without a key signature is introduced by a chord (E, F, A-flat) which might be a diminished version of the miyako-bushi fourth-frame chord (E, F, A), with the note A altered to A-flat. It is followed by a four-note group of B-C-E-F, which seems to be a combination of the miyako-bushi fourth-frame chord on B (B, C, E) and the ryukyu fourth-frame chord on C (C, E, F) with C and E as common notes; a four-note group of B-D-F-G, outlines the minyo fourth-frame chord on D (D, F, G) with B as an additional note. In the opening page alone, Honma has utilized all the Japanese fourth frame chords: the minyo, miyako-bushi, ritsu and ryukyu. This perhaps explains the title of the piece.
In Cross-Mode, rhythm is notated proportionally, without the use of time signatures or bar lines. Following the theoretical concept of jo-ha-kyu (jo means "introduction," a tempo of which tends to be slow and free, ha means "to break away" and is performed in somewhat faster tempo, and kyu is the "rush" to the finale") derived from the ancient music of gagaku and shomyo which infiltrated the various types of traditional music and folk music, the rhythm is accelerated from eighth notes (first three pages) to triplets on page four (Example 6), and eventually to sixteenth notes on page five (Example 7). On page seven, at the half-way point of Cross-Mode, a section of freer rhythmic values, a characteristic oiwake with improvisatory nature, interrupts the persistent rhythms of the first section, as shown in Example 8. However, a gradual rhythmic acceleration takes place, and the steady rhythmic drive reasserts itself. The freer section recurs towards the end, where it closes the piece.
Example 5. Masao Honma, Cross-Mode, opening page
Used by permission. 1982 by Zen-On Music Company, Ltd., Tokyo, Japan.
Example 6. Masao Honma, Cross-Mode, page 4
Used by permission. 1982 by Zen-On Music Company Ltd., Tokyo, Japan.
Example 7. Masao Honma, Cross-Mode, page 5
Used by permission. 1982 by Zen-On Music Company Ltd., Tokyo, Japan.
Example 8. Masao Honma, Cross-Mode, page 7
Used by permission. 1982 by Zen-On Music Company Ltd., Tokyo, Japan.
Ostinato, composed in 1983, is a short single movement work that was composed for a student piano competition held in Miyagi Prefecture. It opens with a statement that employs the Japanese fourth-frame chord, miyako-bushi: A-sharp, B, D-sharp; E, F, A; C, D-flat, F. This leads into a three-measure ostinato shifting pattern using G, A-flat and C. The additional note, D, in the bass completes the chordal structure of perfect fourths (D-G), as shown in Example 9. This folk-styled rhythmic, drum-like pattern in the bass now contains the intervals of a minor second, major third, perfect fourth, tritone, and minor seventh. Among these harmonic intervals, melodic minor seconds, perfect fourths, and especially tritones seem to be emphasized. The initial ostinato pattern is followed by two additional ostinato patterns, each marking a new section. This is followed by a short coda that is based on a running sixteenth note figure extracted from Japanese scale construction. It leads to a final chord that is identical to the opening chord as shown in Example 10.
Example 9. Masao Honma, Ostinato, measures 1-10
Used by permission. 1988 by Zen-On Music Company Ltd., Tokyo, Japan.
Example 10. Masao Honma, Ostinato, measures 80-85
Used by permission. 1988 by Zen-On Music Company Ltd., Tokyo, Japan.
Honma's most recent piano piece, Sound Shift No. 1, was first completed on 31 December 1986 but was partially revised on 30 September 1987 and received its premiere on 28 February 1987. This work continues to use combinations of different Japanese fourth-frame chords. Again, this technique leads to a chromatic style which focusses on dissonances involving tritones and major sevenths. Two different textures containing minimal melodic content pervade this entire work, as shown in Example 11. One texture, created at the beginning, uses chromatic scales within the perfect fourth-frame (D-sharp, E, F, F-sharp, G and G-sharp; A, A-sharp, B, C, D-flat, and D). This provides a complete chromatic scale. It is followed by a chord built from the miyako-bushi (D, E-flat, G) with the added tone of C-sharp. The chordal arrangement emphasizes the major seventh. At Meno mosso, a brief melodic line based freely on Japanese fourth-frame chords--miyako-bushi (E, F, A) combined with ritsu (E, F-sharp, A) and minyo (B-flat, D-flat, E-flat) combined with ryukyu (B-flat, D, E-flat)--is introduced. This leads into a section of constant sixteenth or thirty second notes. These quick note values fill the frame of a perfect fourth: at times chromatically, and at other times with free variants of Japanese fourth-frame chords.
The other texture (in the second Meno mosso section) is based on an ostinato figure as shown in Example 12. It is made up of groups of seven notes built from the miyako-bushi (E, F, A) and minyo (B-flat, D-flat, E-flat) fourth-frame chords with ryukyu (B-flat, D, E-flat), which creates a five-note chromatic passage (D-flat, D, E-flat, E and F) within the major seventh outline of B-flat and A; from three note clusters (D-sharp, E, F) in the bass; and a melodic figure emphasizing the major seventh and a group of six notes (C, D, F-sharp, G, A-flat, and B) derivative of overlapping Japanese fourth-frame chords. The chords are: ryukyu (D, F-sharp, G); miyako-bushi (F-sharp, G, B); miyako-bushi (G, A-flat, C); ritsu (F-sharp, A-flat [G-sharp], B); and ryukyu (G, B, C).
In summary, we have observed how Honma cleverly crafts his own style out of the elements and essences of the Japanese fourth-frame chord. His music represents the logical development of his search for identity: music with a Japanese sensitivity.
Example 11. Masao Honma, Sound Shift No. 1, opening page
Used by permission. 1988 by Zen-On Music Company Ltd., Tokyo, Japan.
Example 12. Masao Honma, Sound Shift No. 1, measures 25-32
Used by permission. 1988 by Zen-On Music Company Ltd., Tokyo, Japan.
QUESTIONNAIRE RESPONSE BY MASAO HONMA
A: It is difficult to identify a specific compositional technique; however, I try to create a contemporary sound structure based on rhythms and melodies derived from national music. As much as possible, I am searching for beauty of sound without the use of tri-chordal harmony.
A: My writing started with a neo-classical approach based on polychords (bitonality, polytonality). During the 1950s and 1960s I mainly employed twelve-tone technique while paying serious attention to elements derivative of Japanese language. Starting in the 1970s, I modernized the national elements; more specifically, my technique centered on the employment of the four Japanese fourth-frame chords (tetrachords devised by Fumio Koizumi) in various combinations. Currently, I am writing more chamber music, vocal music, choral music, and works for Japanese instruments.
A: Up until 1970, I employed twelve-tone technique (until Six Movements for Poems in Tsugaru Dialect and Chamber Ensemble).
Questions on influences on your styles:
A: Among traditional Japanese music, I have been employing minyo (folk songs), warabe-uta (children's songs), and minzoku-geino (folk theatricals). I also respect the shomyo and nohgaku tradition. The details of technical approaches are stated above in the question No. 2.
A: I have been greatly influenced; I do not think it will change in the future.
A: I am not conscientious about it; however, I think I can not ignore the temperament of Japanese religions.
A: I think that one should attempt to contemporize music based on the Japanese sensitivity by searching for one's own existence, not by revolving relations.
A: I believe that Japanese contemporary music is becoming quite unique.
A: Although I can not foresee the future, nor direct its course, I believe that today, rather than emphasizing the universality of music, we should spot-light the differences in ethnic character; then, what becomes necessary is an effort towards understanding each other.
LIST OF COMPOSITIONS
Published solo piano works currently available:
Cross-Mode (1978): published by Zen-On Music (Music for Piano, No. 241).
Ostinato (1983): included in "Piano no [of] Merry-go-round," published by Zen-On Music.
Sound Shift No. 1 (31 December 1986; partially revised, 30 September 1987): published by Zen-On Music (Music for Piano, No. 458).
Unpublished solo piano works:
Piano Music No. 1 "Composition" (October 1959): I Homophonic; II Polyphonic.
Piano Music No. 2 (January 1963).
Piano Music No. 3 (December 1969).
Other piano works:
Sound Shift No. 2 for Piano and Strings (September 1986): unpublished.
Sound Shift No. 4 for Piano for Four Hands (April 1988): unpublished).
Major compositions: