An Analysis of Flute Works by Fukushima Kazuo and Yuasa Jōji, Exploring the Influence of Japanese Nō Theatre and Nōkan Performance Practice.

Abstract

This thesis examines the influence and manifestation of elements of the Japanese Nō Theatre, and particularly that of the nōkan (Nō flute), in selected works by both Fukushima Kazuo and Yuasa Jōji, two composers whose beginnings lay with the Jikken Kōbō (“Experimental Workshop”). The works to be discussed are Hi-Kyo (1962) by Fukushima, and Mai-Bataraki II (1987) by Yuasa. Mei, the central movement of Hi-Kyo, is often performed as a stand-alone piece, and will therefore be thoroughly analysed in this capacity as well as within the context of Hi-Kyo. The characteristics of Nō that are relevant to the analyses are first established through a brief history of the refinement of the art, followed by a description of the idiosyncrasies of the unique nōkan. Jo-ha-kyu and ma are important elements of Nō that are shown to exist in Mei, Hi-Kyo and Mai-Bataraki II through the examination of pitch class, and the recurrence and development of motivic material. The observation of acciaccature and the use of extended techniques to affect timbre and pitch are compared to certain characteristics of the nōkan, which has idiosyncrasies that are cultivated rather than inhibited by the performer. A more informed performance will result from an understanding of the aesthetics of Nō and nōkan performance practice, and the distinctive qualities of the nōkan.