Western Extended Techniques in Traditional Japanese Wind Performance: Gagaku Kangen and Shakuhachi Honkyoku
Abstract
The term “extended techniques” in the context of Western art music refers to performance techniques that fall outside the normal course of study for an instrument. The purpose of this study is, 1) to show that woodwind techniques considered “extended” and relatively “new” in Western classical music appear in traditional repertoires in Japan, and 2) to show that these techniques do not function as merely ornamental or virtuosic devices, but are instead structurally significant. I approach these two objectives through case studies of the instrumental kangen repertoire of the gagaku court ensemble (with a focus on the hichiriki and ryūteki wind parts) and the classical Zen Buddhist honkyoku repertoire of the shakuhachi flute.
Whereas previous studies have disregarded the role of performance techniques in their analyses of form and mode, I have investigated how performance techniques confirm, emphasize, and even outline the formal and modal structure of the case-study pieces: Etenraku (gagaku) and Sokaku Reibo (shakuhachi). In this study, I analyze two recordings of the virtuosic shakuhachi piece Sokaku Reibo by recognized masters: Aoki Reibo II and Yamaguchi Gorō, and three recordings of the well-known gagaku piece Etenraku by Japanese court ensembles, in addition to recordings of the individual wind parts and sung mnemonics. In order to create a comprehensive picture of the role of the relevant performance techniques, I combine the methods of transnotation of tablature scores and mnemonics into staff notation (and lists of pitch cells in the case of Sokaku Reibo), transcription of recordings, and spectral analysis of recorded excerpts.
This study demonstrates that all elements of a performance should be considered in analysis. An analysis that considers only the basic melodic line of a piece risks discarding elements that could inform and confirm the results. In the case of Etenraku and Sokaku Reibo, my investigation of performance techniques has led to a discovery of their structural significance.
Whereas previous studies have disregarded the role of performance techniques in their analyses of form and mode, I have investigated how performance techniques confirm, emphasize, and even outline the formal and modal structure of the case-study pieces: Etenraku (gagaku) and Sokaku Reibo (shakuhachi). In this study, I analyze two recordings of the virtuosic shakuhachi piece Sokaku Reibo by recognized masters: Aoki Reibo II and Yamaguchi Gorō, and three recordings of the well-known gagaku piece Etenraku by Japanese court ensembles, in addition to recordings of the individual wind parts and sung mnemonics. In order to create a comprehensive picture of the role of the relevant performance techniques, I combine the methods of transnotation of tablature scores and mnemonics into staff notation (and lists of pitch cells in the case of Sokaku Reibo), transcription of recordings, and spectral analysis of recorded excerpts.
This study demonstrates that all elements of a performance should be considered in analysis. An analysis that considers only the basic melodic line of a piece risks discarding elements that could inform and confirm the results. In the case of Etenraku and Sokaku Reibo, my investigation of performance techniques has led to a discovery of their structural significance.