A PERFORMANCE AND PEDAGOGICAL GUIDE TO THE PIANO …

A PERFORMANCE AND PEDAGOGICAL GUIDE TO THE PIANO MUSIC

BY MAKIKO KINOSHITA

A DISSERTATION

SUBMITTED TO THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

DOCTOR OF ARTS IN MUSIC

BY

YUKA NAKAYAMA

DISSERTATION ADVISORS: DR. RAY KILBURN AND DR. HEATHER PLATT

BALL STATE UNIVERSITY

MUNCIE, INDIANA

MAY, 2011

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ACKNOWLEDGEMENTS

I am indebted to many who supported this project. I would especially like to

acknowledge the encouragement of Dr. Ray Kilburn, who gave me piano lessons,

continuous support and advice for helping me to better understand and interpret the

music. I am also extremely grateful to Dr. Heather Platt, who guided me through the

dissertation writing process, and Dr. Michael Oravitz, who helped with the analysis of the

music. Further thanks are due to Makiko Kinoshita, the composer of this project, who

helped me collect all of her scores and agreed to be interviewed.

My sincere thanks are due to my friends, Laura Dallman, Andrew Ayers, and

Peter John. Laura has assisted with the editing and proofreading process of this document

throughout its many stages, giving me her time and critical writing skills, for which I am

very grateful. Andy has assisted with the recording and editing process, and he has been

very supportive and cooperative throughout the long process of recording and editing. He

always created a most comfortable recording environment in which I could solely focus

on my playing and sound. Peter helped me by designing the CD cover and giving me

many interesting ideas in my playing, as well as proofreading and correcting my

document.

Finally, heartfelt thanks are due to my family in Japan, who generously supported

my studies in the U.S., and to Yuko Ishikawa, a dear friend, who helped me find some of

the scores in Japan.

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS………………………………………………………… ii TABLE OF CONTENTS…………………………………………………………… iii

LIST OF MUSICAL EXAMPLES, TABLES, AND FIGURE…………………….. iv CHAPTER

1. INTRODUCTION…………………………………………………….......... 1 Introduction………………………………………………………... 1 Review of the Literature…………………………………………… 2 Significance of the Research………………………………………. 4 Methodology………………………………………………………. 6 Organization……………………………………………………….. 7

2. COMPOSER, MAKIKO KINOSHITA…………………………………….. 9 Life and Works of Makiko Kinoshita……………………………… 9 Piano Music………………………………………………………... 15

3. PEDAGOGICAL AND PERFORMACE CONSIDERATIONS…………... 20 9 Preludes.......................................................................................... 21 A Circuit of Dreams……………………………………………….. 57 Alice in Wonderland……………………………………………….. 71 Works for Children………………………………………………… 97 Hop, hop (1988)……………………………………… 97 The Lion with the GI haircut (1989)…………………. 99 Song Sung by a Dog Looking at its own Tail (1990)… 100 Children’s Song of Africa (1991)……………………. 101 Soft Bavarian Cream (1994)…………………………. 101 A Memorable Lemon Pie (1995)……………………... 103 Waku Waku [Exciting] (2000)……………………….. 104 Uto Uto [Dozing] (2003)…………………………….. 106 Moa (2006)…………………………………………... 106 E.q.quagga (2007)…………………………………… 109 Mother Goose……………………………………………………… 113

4. CONCLUDING REMARKS……………………………………………….. 122 A Summary of Kinoshita’s Piano Music…………………………... 122 My Final Impressions……………………………………………… 124 APPENDICES A A List of Kinoshita’s Musical Works………... 126 B Piano Solo Works with Difficulty Level…….. 137 C Recording Contents of Accompanying CDs…. 139 BIBLIOGRAPHY ………………………………………………………………….. 141

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LIST OF MUSICAL EXAMPLES

Example Page

3.1 Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 1-10………………….. 24

3.2 Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 112-129……………… 24

3.3 Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 51-61………………… 25

3.4a Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 62-71………………… 25

3.4b Makiko Kinoshita, 9 Preludes, Prelude 1, mm. 124-129……………… 25

3.5 Makiko Kinoshita, 9 Preludes, Prelude 2, mm. 1-4…………………… 27



3.8 Debussy, Etude, pour les accords, mm. 1-4…………………………… 30

3.9 Prokofiev, Piano Concerto no. 3 in C major, Op.26, I, mm. 23-24……. 31

3.10 Shostakovich, Piano Concerto No. 1, Op. 35, I, mm. 22-23…………... 31




3.13b Beethoven, Sonata, Op.10 no.1, II, mm. 1-16…………………………. 35

3.14 Ravel, Forlane, Tombeau de Couperin, mm. 1-4………………………. 36

3.15a Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 1-6…………………… 36

3.15b Makiko Kinoshita, 9 Preludes, Prelude 5, mm. 35-37………………… 37


3.17 Makiko Kinoshita, Alice in Wonderland, no.2, mm. 45-48……………. 38

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3.20 Chopin, Prelude Op. 28, no. 4, E minor, mm. 1-4……………………... 41

3.21a Makiko Kinoshita, 9 Preludes, Prelude 6, mm. 9-12………………….. 41







3.27a Makiko Kinoshita, 9 Preludes, Prelude 8, mm. 1-4…………………… 47


3.28 Makiko Kinoshita, Alice in Wonderland,no.5, mm. 1-4……………….. 48


3.30a Makiko Kinoshita, Alice in Wonderland, no. 5, mm. 69-73…………… 49

3.30b Makiko Kinoshita, A Circuit of Dreams, I, mm. 82-89………………... 50




3.33b Makiko Kinoshita, A Circuit of Dreams, II, mm. 119-204…………….. 53


3.35a Makiko Kinoshita, A Circuit of Dreams, I, mm. 24-26………………... 59

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3.35b Makiko Kinoshita, Twisting Landscapes, II, mm. 15-17……………… 59

3.36 Makiko Kinoshita, A Circuit of Dreams, I, mm. 1-2…………………... 59

3.37 Makiko Kinoshita, A Circuit of Dreams, I, mm. 33-34………………... 61

3.38 Makiko Kinoshita, A Circuit of Dreams, I, mm. 40-43………………... 61

3.39 Makiko Kinoshita, A Circuit of Dreams, I, mm. 1-2…………………... 63

3.40a Makiko Kinoshita, A Circuit of Dreams, I, m. 13……………………... 63

3.40b Makiko Kinoshita, A Circuit of Dreams, I, mm. 55-56………………... 63

3.41 Makiko Kinoshita, Twisting Landscapes, III, mm. 36-38……………... 64

3.42 Makiko Kinoshita, A Circuit of Dreams, II, mm. 1-19………………… 66

3.43 Makiko Kinoshita, A Circuit of Dreams, II, mm. 37-38……………….. 67

3.44 Makiko Kinoshita, A Circuit of Dreams, II, mm. 89-94……………….. 67

3.45 Makiko Kinoshita, A Circuit of Dreams, II, mm. 169-180…………….. 69

3.46 Makiko Kinoshita, A Circuit of Dreams, II, mm. 237-241…………….. 69


3.48 Makiko Kinoshita, Alice in Wonderland, no.2, mm. 5-8………………. 74








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3.56 Makiko Kinoshita, Alice in Wonderland, no.4, m. 27……………...….. 80





3.61a Makiko Kinoshita, Alice in Wonderland, no.7, m. 63…………………. 85

3.61b Makiko Kinoshita, Alice in Wonderland, no.7, mm. 83……………….. 85

3.62a Makiko Kinoshita, Alice in Wonderland, no.7, mm. 67-75……………. 86

3.62b Makiko Kinoshita, Alice in Wonderland, no.7, mm. 116-121…………. 86

3.63a Makiko Kinoshita, Alice in Wonderland, no.7, m. 26…………………. 87

3.63b Makiko Kinoshita, Alice in Wonderland, no.7, mm. 104-105…………. 88






3.69 Makiko Kinoshita, Alice in Wonderland, no.9, mm. 140-143…………. 93

3.70 Makiko Kinoshita, Alice in Wonderland, no.10, mm. 1-9……………... 94

3.71 Makiko Kinoshita, Hop, hop, mm. 1-4………………………………… 98

3.72 Makiko Kinoshita, Hop, hop, mm. 16-25……………………………… 98

3.73 Makiko Kinoshita, The Lion with the GI haircut, mm. 1-3……………. 99

3.74 Makiko Kinoshita, Song Sung by a Dog Looking at its own Tail, mm. 1-4……………………………………………………………………… 100

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3.75 Makiko Kinoshita, Children’s Song of Africa, mm. 1-4……………….. 101

3.76 Makiko Kinoshita, Soft Bavarian Creme, mm. 12-16…………………. 102

3.77 Makiko Kinoshita, Soft Bavarian Creme, mm. 20-27…………………. 103

3.78 Makiko Kinoshita, Soft Bavarian Creme, mm. 8-11…………………... 103

3.79 Makiko Kinoshita, A Memorable Lemon Pie, mm. 17-20……………... 104

3.80a Makiko Kinoshita, Waku Waku [Exciting], mm. 16-18……………….. 105


3.81a Makiko Kinoshita, Waku Waku [Exciting], m. 25……………………... 105

3.81b Makiko Kinoshita, 9 Preludes, Prelude 5, m. 21………………………. 105

3.82 Makiko Kinoshita, Uto Uto, mm. 1-3………………………………….. 106

3.83a Makiko Kinoshita, Moa, mm. 1-8……………………………………... 107

3.83b Makiko Kinoshita, Alice in Wonderland, no.8, mm. 8-9………………. 108

3.83c Makiko Kinoshita, Alice in Wonderland, no.9, mm. 1-2………………. 108

3.84 Makiko Kinoshita, Moa, mm. 9-12……………………………………. 109

3.85 Makiko Kinoshita, E.q.quagga, mm. 10-11…………………………… 110

3.86 Makiko Kinoshita, E.q.quagga, mm. 19-22…………………………… 110

3.87 Makiko Kinoshita, E.q.quagga, mm. 27-29 ………………………….. 110

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LIST OF TABLES

Table Page

2.1 Kinoshita’s Solo Piano Music Makiko Kinoshita………………………. 17

3.1 Summary of 9 Preludes............................................................................ 55

3.2 Form of A Circuit of Dreams, I…………………………………………. 60

3.3 Form of A Circuit of Dreams, II………………………………………... 65

3.4 Form of “A Mad Tea-Party Never Ends”………………………………. 83

3.5 Form of “The Queen’s Croquet-Ground”………………………………. 90

3.6 Form of “The Trial in a Muddle”……………………………………….. 91

3.7 Summary of Technical Focuses in Alice in Wonderland……………….. 95

3.8 Summary of Technical Focuses in Works for Children………………... 112

3.9 Summary of Technical Focuses in Mother Goose……………………… 121

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LIST OF FIGURES

Table Page

3.1 Illustration excerpt from “Alice in the Golden Afternoon”…………….. 72

CHAPTER 1

INTRODUCTION

Introduction

Makiko Kinoshita was born in 1956 in Tokyo, Japan, eleven years after the end of

World War II. The conclusion to the war marked the reopening of Japan to the West, and

the end of an era in which Japan was culturally xenophobic and closed to foreign

influences. Composers of that closed-off generation, such as Toru Takemitsu (1930-

1996) and Toshiro Mayuzumi (1929-1997), retained a more traditional Japanese sound

which appealed to western audiences and composers.1 For example, Takemitsu often

used traditional Japanese instruments in his orchestral works, including November Steps

(1967), and Mayuzumi used shomyo, or Japanese Buddhist chant, in his Symphony

Nirvana (1959). Kinoshita’s music, however, reflects a very different Japan. In the 1950s

Japanese traditions became entwined with those of the West, forming a more blended

culture. Kinoshita’s music does not have the distinctive ethnic flavor western audiences

came to expect after becoming acquainted with the work of her forerunners. Perhaps this

is one reason why her music remains relatively obscure outside of Asia.

Because Kinoshita’s works are not widely studied outside of Asia, the goal of this

project is to introduce Kinoshita’s music to the United States. I have recorded Kinoshita’s

1 These sounds were called hogaku or dentou ongaku [Japanese traditional music]. See Hugh de Ferranti, “'Japanese Music' Can be Popular,” Popular Music 21, no. 2 (May, 2002): 197.

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complete piano solo works2 and, in the following chapters, I provide a supplemental

performance guide to help performers and piano teachers better understand the composer

and her music. The guide includes a brief analysis of each piece, focusing on pedagogical

and interpretive concerns.

Review of the Literature

Resources concerning the life and work of Makiko Kinoshita are very limited.

There are no scholarly studies about Kinoshita written in English,3 and therefore the

entirety of my research is based on literature written in Japanese. Through email

correspondence with the composer I have also confirmed that aside from two brief

articles which were primarily interviews, no-one has studied or analyzed her piano

works.4

Among the available resources, the website Music Composer, KINOSHITA,

MAKIKO: Official Web Site, prepared by the composer herself, is an excellent resource

discussing her life and works.5 It provides a detailed biography, information about

upcoming and past concerts, a list of works including both published recordings and

scores, and her blog. The blog is especially helpful because it provides insight into

Kinoshita’s views on music, art, and her own compositions. For this project, Kinoshita’s

writings will be subjected to careful review and consideration in order to maintain a

balanced perspective.

2 The recording includes her complete piano works as of 2011. 3 There are no records of any articles or books available on RILM, IIMP, Oxford Music Online, ProQuest Dissertations and Theses, or JSTOR. Worldcat contains only scores, recordings and Yoku Waraku Gakuten. 4 Makiko Kinoshita, email message to author, January 23, 2009. 5 Makiko Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site,” http://www.m-kinoshita.com/english.html (accessed January 29, 2011).

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Another resource is Kinoshita’s interviews with the Japanese PTNA (Piano

Teachers National Association),6 the first of which occurred on 26 December 2008.7 The

interviewer, Eiko Sudo, focuses on Kinoshita’s piano works and her life and musical

identity as a Japanese composer, bringing to light Kinoshita’s personality and musical

influences. Kinoshita’s second interview occurred on 13 August 2010 in collaboration

with the pianist Takashi Obara (b. 1960). Obara is known for his interpretations of

Kinoshita’s piano works.8 The focus of this interview is Kinoshita’s piano duet

Labyrinthine Piano (2010), which is discussed by both Obara and Kinoshita.

Compositional style and an ideal interpretation of the piece are the two central topics.

My next resource is the music theory textbook written by Kinoshita Yoku Wakaru

Gakuten.9 Each chapter contains an essay by Kinoshita that comments upon various

aspects of music and musical performance: rhythm, harmony, tempi and articulation. She

also offers valuable insight into the performative aspects of her own music. This book is

aimed at people in choir or brass bands as well as music amateurs who want to learn how

to read music.

Other resources include prefaces to published scores, program notes, and liner

notes accompanying CDs, which are often written by the composer herself. The prefaces

6 ピティナ[PTNA] is a pedagogical organization for Japanese piano teachers. Official homepage: http://www.piano.or.jp/ 7 Eiko Sudo, “インタビュー第 11 回木下牧子” [Interview 11: Professor Makiko Kinoshita; Piano Pieces Made In Japan], Piano Teachers National Association, http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed January 30, 2011). 8 Eriko Taniguchi, “特別インタビュー小原孝先生×木下牧子先生対談” [Special Interview: Talk by Mr. Takashi Obara and Ms. Makiko Kinoshita], Piano Teachers National Association, http://www.piano.or.jp/report/news/2010/08/13_11190.html (accessed January 4, 2011). Obara has recorded seven CDs. Six CDs include songs. Obara collaborated with two singers, Yumi Nozaki and Yasuko Kamiya. One CD includes piano works for four hands, Labyrinthine Piano, Nami Records WWCC-7640, CD, 2010. 9 Makiko Kinoshita, Yoku wakaru gakuten [Easily understandable music theory] (Tokyo: Natsume-Sha, 2008).

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for the score of 9 Preludes and A Circuit of Dreams10 are of particular value because they

contain more information than her other scores.11 The liner notes to the two CDs which

contain Kinoshita’s piano works, Trembling Moon12 and Alice in Wonderland,13 are

interesting because they provide background information on the pieces but they do not

contain extensive discussions of Kinoshita’s music.

Although the literature listed above contains valuable information, most of these

sources do not offer specific guidance for the performer: they only offer more general

information. Thus, due to the absence of sustained studies, I have been forced to derive

my interpretations from general discussions of Kinoshita’s music and my own analyses.

Significance of the Research

This project aims to contribute research about Kinoshita’s music. Her innovative

music is rich both for the student and the professional. For example, several of her short

and relatively easy pieces for children have lively and imaginative names. These titles

relate the music to the child’s everyday life and stimulate musicality by binding musical

material with familiar situations, things, and feelings. Kinoshita’s more advanced works

showcase her original compositional style, which is influenced by the Western classical

tradition, pop, rock, and jazz.14 These pieces often combine rhythmic and harmonic

10 Makiko Kinoshita, A Circuit of Dreams (Tokyo: Edition KAWAI, 2007). 11 The majority of her scores simply include a biographical sketch. 12 The Trembling Moon, ALM Records/Kojima Recordings ALCD-71, CD, 2007. This recording contains A Circuit of Dreams. 13 Alice in Wonderland, Victor Entertainment VICS-61218, CD, 1999. 14 Kinoshita’s compositional style sometimes resembles the styles of Debussy, Bartók, Prokofiev, Stravinsky, Shostakovich, Chopin, and neo-classicists. Kinoshita often encountered pop, rock, and jazz music during her childhood, and she often integrates aspects of these styles in her own music. More details are discussed in chapters 2 and 3.

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intricacies that present a challenge to the adult performer, yet remain thoroughly

enjoyable for the audience.

Yet accessing this wealth of music remains quite difficult. Many of Kinoshita’s

solo piano works have not yet been recorded15 and many of her scores are difficult to

find. The Collection of Piano Pieces by Composers for Children contains several pieces

of Kinoshita’s, but others are out-of-print. This collection is used for young students in

Japan, but it is not published outside the country. Kinoshita’s works are also not included

in standard references for pianists, such as Maurice Hinson’s Guide to the Piano

Repertoire.16 These factors must contribute to Kinoshita’s relative obscurity outside of

Asia and help explain the absence of her music from current concert repertoire.

Therefore, for this project I have compiled a comprehensive list of Kinoshita’s

piano music, recorded the pieces, and created a performance guide.17 The works of

Kinoshita can add musical variety and technical proficiency to the repertoire of any

pianist. This project will make it easier for pianists, teachers, and students to become

acquainted with Kinoshita’s works.

15 Alice in Wonderland and A Circuit of Dreams are the only two of Kinoshita’s solo piano pieces that have been recorded on compact disc. 16 Maurice Hinson, Guide to the Pianist’s Repertoire, 3rd ed., (Bloomington, IN: Indiana University Press, 2000). 17 The performance guide should serve primarily as a teaching resource for teachers interested in improving their students’ pianism.

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Methodology

Scores for some of Kinoshita’s advanced piano solo works, such as the original and

revised versions of A Circuit of Dreams, are found in the United States.18 The scores of 9

Preludes and Alice in Wonderland, the CD Trembling Moon, and Yoku Wakaru Gakuten

were purchased in Japan. Some works for children and Mother Goose were obtained in

the Kunitachi Conservatory library in Tokyo, Japan. An unpublished piece, Fantasy, and

some out-of-print scores Waku Waku [Exciting], Uto Uto [Dozing], and Memorable

Lemon Pie were obtained by contacting the composer.

My performance guide includes a discussion of interpretative and pedagogical

concerns. I discuss the general style of the works and, in the manner of Hinson’s Guide to

the Piano Repertoire, rate the relative level of difficulty of each piece.19 Barbara

Nissman’s book Bartók and the Piano: A Performer’s View, provided a model for my

project. Nissman analyses the music and discusses performance practices and common

problems a performer might encounter. The book received positive reviews, and, in

particular, praise for the section devoted to performance issues.20 A supplemental CD

includes several of the pieces that are discussed in the book. A second model for my

project was the book Edvard Grieg and His Songs by Sandra Jarrett.21 This book, which

originated as doctoral research, focuses on fifty of Grieg’s 150 songs and discusses each

in terms of style, melody, harmony, text, and accompaniment. 18 9 Preludes can be purchased from www.sheetmusic.com, though the American price is more expensive than the Japanese equivalent. Two libraries in the United States own A Circuit of Dreams. 19 Hinson’s Guide to the Piano Repertoire includes all the piano repertoire of a given composer, briefly explains what each piece is, and rates its level of difficulty. 20 Barbara Nissman, Bartók and the Piano: A Performer’s View (Lanham, MD: Scarecrow Press, 2002). Reviews are: Virginia Houser, review of Bartók and the Piano: A Performer’s View, by Barbara Nissman, American Music Teacher 52, no. 6 (June/July 2003): 96, and David Witten, review of Bartók and the Piano: A Performer’s View, by Barbara Nissman, Notes 60, no. 2 (December 2003): 452. 21 Sandra Jarrett, Edvard Grieg and His Songs (Burlington, VT: Ashgate, c2003).

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Interviews with Kinoshita further enhanced my understanding of her music. She

discussed her identity as a Japanese composer, her influences, and her compositional

methods and styles. It was especially helpful to converse individually with her.

Preparation for the recording started in the fall of 2008. After thoroughly

preparing the repertoire, I had several recording sessions with the Music Technology

department at Ball State University. The recordings were made in Sursa Hall, the main

concert hall used by Ball State’s School of Music. Because of the extensive amount of

repertoire, it took several days. The editing process also involved working with Andrew

Ayers, a music engineer and editor, for several weeks. He is a student majoring in music

technology at Ball State University. To prepare the CD for publication, I collaborated

with a graphic designer, Peter John.

Organization

Chapter 2 provides an overview of Makiko Kinoshita’s life and compositions. It

concludes with a brief introduction to her compositions for piano, emphasizing her works

for piano solo. It includes information from my personal correspondence with Kinoshita,

in which she provided detailed information about her life and musical practices.

Chapter 3 discusses pedagogical and performance considerations of each piano

piece as well as their musical styles. Each set or group of pieces begins with an

introductory overview. The only exception is Mother Goose. Since this set consists of

fifteen folk songs that were arranged by Kinoshita, my discussion provides some brief

background information and centers on the technical focuses of each piece.

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Chapter 4 consists of my concluding remarks followed by three appendices and a

bibliography.

CHAPTER 2

COMPOSER, MAKIKO KINOSHITA

Life and Works of Makiko Kinoshita

The early years

Kinoshita was born in Tokyo, Japan, on 20 September 1956. She began to play

the organ at the age of five and the piano by the age of six. Even though she later learned

the violin and flute, her dream was always to become a pianist. Following this dream,

Kinoshita attended the Music High School affiliated with the Tokyo National University

of Fine Arts and majored in piano performance. In her interview with Eiko Sudo,

Kinoshita revealed her musical environment in her youth.

…I grew up being more familiar with music from the West than Japanese traditional music. When I was a child, I used to hear my neighbors practicing Für Elise by Beethoven and sonatinas by Mozart and Clementi, not playing traditional Japanese music. This music was some of the first music I listened to. Later pop music, jazz, folk music, and Japanese music (hogaku) mixed with Western music is what I would listen to. I think this chaos shows what the true music of Japan is today.1

The high school years, 1972-1975

While she was at the high school, Kinoshita became interested in composition.

One of her first compositions was a cadenza to Mozart’s piano concerto in D minor K.

1 Eiko Sudo, “インタビュー第 11 回木下牧子” [Interview 11: Professor Makiko Kinoshita; Piano Pieces Made In Japan], Piano Teachers National Association, http://www.piano.or.jp/report/02soc/pmj/2008/12/26_7469.html (accessed January 30, 2011).

10

466, for which she received high praise from her professors.2 She was also chosen to

compose music for a musical Christmas Carol to be performed at a school festival. While

Kinoshita still liked playing the piano, she wished to play not only music from western

countries but also her original compositions. Kinoshita remembers her experience of

piano playing in her high school years.

…Sight-reading on the keyboard was no problem for me. I used to play repertoire from all musical periods. However, I was not a naturally expressive player. It was difficult for me to connect with music on a deep emotional level because I could learn most pieces in a short time. My piano teacher always advised me to play more expressively but did not explain how to do so... I could copy how my teacher played a piece, but I knew it did not help my musicality. If my teacher was not there, I was not sure that that I would be able to play musically by myself.3

After graduating from high school Kinoshita took a year off from school and studied

composition with Mareo Ishiketa (1916-1996). She took private lessons from Ishiketa,

but she also practiced composing by herself.

…I went to the library everyday and trained myself to compose fugues and sonatas with an alarm clock. The entrance audition for the Tokyo National University of Fine Arts major in composition required applicants to compose a sonata on site in six hours without using any instruments. It was like a game and was actually quite fun! I knew I should not use any modern harmonies or use modern techniques of composition; instead needed to use only traditional harmonies and compositional techniques. It was during this time that I would compose music in a free and natural style in the mean time for fun.4

Orchestral works, 1976-1996

Kinoshita was admitted to the Tokyo National University of Fine Arts as a

composition major in March of 1976. Her composition teachers at the University

2 Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site.” 3 Sudo, “Interview 11: Professor Makiko Kinoshita.” 4 Ibid.

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included Mareo Ishiketa, Toshiro Mayuzumi (1929-1997), Kenjiro Urata (b. 1941), and

Shozo Maruta (b. 1928). During 1976-77 Kinoshita composed several saxophone sonatas

and saxophone quartets; she was in love with the tones of these instruments.5 However,

she stopped composing saxophone works after 1977. In 1978 she began composing for

orchestra because she became interested in bigger orchestral sounds.6 After writing a

piano concerto in 1978, she completed two other orchestral works, Kangengaku no

tameno isshou (1978) and Koten (1979). They were played in premier concerts. At her

graduation, her university gave Kinoshita the award for the best composition of the year

for Koten.

Kinoshita attended the same school for graduate studies in composition from

1980-1982. In her twenties Kinoshita composed mainly orchestral works. Some of

Kinoshita’s awards for her orchestral music include the Nihon Ongaku Concours prize in

1982 for Fantasy (1977) and the “Outstanding Composition” award of the Japan

Symphony Foundation in 1988 for Aura for Orchestra (1986).7 She began earning a

reputation as a professional composer. Yet having orchestral works played was

expensive.8 The only way a composer could avoid paying performers was to have his or

her work played as a result of winning a competition. In the early 1980s many music

critics believed that avant-garde music was the “right” trend9 and Kinoshita realized that

she had to focus on showy effects and experimental techniques to win competitions: she

5 Kinoshita, “Music Composer, Kinoshita, Makiko: Official Web Site.” 6 Makiko Kinoshita, liner note to Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007. 7 The Nihon Ongaku Concours is a music competition in Japan. 8 In Japan, composers who do not have sponsors need to hire orchestra members for their time for rehearsals and performances. 9 Keichi Kubota, はじめての音楽史ー古代ギリシアの音楽から日本の現代音楽まで [Music history – from ancient Greek to modern music in Japan] (Tokyo: Ongakuno-Tomo-Sha, 1998): 184.

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could not compose music by following her heart.10 She composed seven orchestral works

and two wind orchestral works between her college years and her early 30s. However, her

frustration with not being able to compose from her heart grew more intense. Her

compositional interests gradually leaned toward choir music and songs.

Choral, vocal, and song works, 1980-present

As a result of the difficulties she experienced in getting her orchestral pieces

performed, Kinoshita decided to study vocal music. Her commissioned work Hakobune

(1980) became extremely famous among college choirs in Japan and was performed by

many groups.11 This success led to many more commissions for choir pieces and

Kinoshita was encouraged to compose more and more vocal music. Kinoshita’s choral

works have been sung in concerts and at local and national competitions by a wide

variety of groups.12 For example, Seagull (2008), a recent work for choir and orchestra,

was performed by the Tokyo Philharmonic Chorus and the Tokyo Symphony Orchestra

under Kazuki Yamada (b. 1979). Kinoshita has also been asked to compose songs and

anthems for schools.13 Among her more than eighty publications, sixty-four are for choir

and seven are song albums. Choral pieces were the bulk of her compositional output

during 1980-1999, and what gained her a national reputation as a choral composer. This

is why Kinoshita is mostly known in Japan for her choral pieces and vocal works.

10 Sudo, “Interview 11: Professor Makiko Kinoshita.” 11 A choir group, 東京外国語大学コール・ソレイユ [Choeur Soleil in Tokyo University of Foreign Studies] commissioned Kinoshita to write choir music in 1980. Hakobune for mixed-voice was later transcribed for male chorus in 1987 and revised in 2010. 12 Kinoshita’s choral pieces, such as 春に (Haruni) (1989), have over 212,000 views on Youtube. 13 群馬県立高崎東高等学校 [Gunmakenritu Takasaki Higashi high school] and 金沢市立杜の里小学校 [Kanazawa shiritu Morisnosato elementary school] commissioned Kinoshita to write their school songs.

13

Compositional exploration, 2000-present

In 2000 Norio Fukushi (b. 1945), the producer of Nihon Gendai Ongaku Kyokai,

the Japan Society for Contemporary Music, asked Kinoshita to compose a work for

percussion ensemble. In response, Kinoshita composed The Trembling Moon for four

percussion players. After its premiere, a performance of this work was broadcasted on the

radio by NHK-FM.14 This piece seemed to open a door for Kinoshita and she began

composing in multiple genres: opera, chamber, instrumental, and vocal music, as well as

choral and symphonic music.

Kinoshita’s opera Alice in Wonderland (2003), which is based on her piano piece

of the same name, was commissioned by the Mitsubishi Trust Art and Cultural

Foundation in commemoration of the twentieth anniversary of the Mozart Theatre in

Tokyo and is still regularly performed. Its premiere was awarded the Mitsubishi shintaku

geijyutsu bunka zaidan syorei prize. Two years later, the revised Alice in Wonderland

(2005) won the Exxon-Mobile Music Prize.15 Kinoshita also started to compose works

for larger ensembles, such as orchestral works, works for brass band, works for choir and

orchestra (see a list of Kinoshita’s works in Appendix A). They have been performed in

some of the most important halls of Japan, including the Takemitsu Memorial Concert

Hall, Oji Hall, Tokyo Bunka Kaikan, Tokyo Metropolitan Art Space, and Shinjuku

Bunka Center. Kinoshita’s works, such as the song album Four Songs by C. Rossetti

(2000), and the choral piece For Soccer (2003), are regularly performed in concerts all

14 NHK (Nippon Hoso Kyokai) [Japan Broadcasting Corporation] is the biggest TV and radio station in Japan. It is a national public broadcasting organization. It also provides an international broadcasting called NHK World. 15 The vocal score and full score for the opera Alice in Wonderland are available in Edition Ongakuno-Tomo-Sha. While the piano work led to the composition of the opera, Kinoshita largely recomposed the music. The opera only uses fragments of motives from the piano work.

14

over Japan. It is because of these works for various ensembles and instrumentations that

Kinoshita believes she became a well-rounded composer.16

Recordings

As of February 2011, there are thirty-seven CDs and two DVDs containing

Kinoshita’s music. Fifteen recordings include songs. Of these, Jyojyo shohin kyoku shu

[Lyric Pieces] (1999), Aisuru uta [Love Songs] (1995), and Muttsu no roman [6

Romantic Pieces] (1995) have been recorded the most.17 Thirteen recordings feature choir

music and five feature brass bands. There are only a few recordings for wind orchestra,

piano, and chamber ensemble. All the recordings have Japanese labels: Fontec, Victor

Entertainment, Octavia Records, Sony Music Entertainment, and Nami Records. For this

reason, Kinoshita’s music is rarely available in the United States.

General Style Characteristics

Many of Kinoshita’s works have programmatic titles (see Appendix A). Within

her entire oeuvre, Kinoshita’s compositions often contrast two broad styles: lyrical and

atmospheric verses rhythmic and bold. The first style can include lyrical, melodic

materials and colorful, unconventional harmonies. The second style usually features the

percussive use of instruments and irregular rhythms.

16 Makiko Kinoshita, liner note to Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007. 17 Jyojyo shohin kyoku shu and Aisuru uta were originally choir works. Because of the lyrical, simple melodies, charming lyrics, and technical accessibility, they are popular among choir groups and singers in Japan.

15

Most of Kinoshita’s choral music and vocal songs are very lyrical. Her melodies,

particularly in her songs, frequently follow the natural intonations of the Japanese

language. Her piano accompaniments usually support and lead the melody line and also

share many characteristics with Kinoshita’s solo piano music.18

In her chamber music, Kinoshita often contrasts her two broad styles within a set.

For example, Twisting Landscapes for clarinet, violin, and piano (2004) has three

movements that follow an overall rhythmic – atmospheric – rhythmic structure.

Sometimes, however, Kinoshita chooses to focus on a specific technique. In Trembling

Moon for four percussion players (2005), repeated tremolos are used to create

atmospheric effects.

Piano Music

…The piano is capable of so many colors and dynamics that it is almost magical. The piano has become my favorite instrument and I plan on writing more pieces for it in the future. I believe that I can write fresh and individualistic music using orthodox styles without using the aggressive and overly percussive techniques favored by composers of the last century. My goal is to create appealing works that the performer enjoys playing and continues performing for a lifetime.19

While the amount of Kinoshita’s piano music is limited, her existing works

exhibit an array of sounds and present diverse technical challenges. Her piano pieces

range from simple pedagogical pieces to difficult concert masterpieces that require

detailed musicality and technical finesse. While most scores have been published with

18 Kinoshita uses chords as color changes on each beat in the piano part of “For the Moon Light” in Kohu na Tsuki (2008), which is similar to Prelude 6 of 9 Preludes (2001). The piano part of Romantic Pig (1989) shares many characteristics with Kinoshita’s piano music for children: grace notes, waltz-style accompaniment, and playful and charming characters. 19 Makiko Kinoshita, interview answers to author, February 1, 2011.

16

both Japanese and English titles, two unique scores, obtained directly from Kinoshita,

have only Japanese titles: Waku Waku [Exciting] and Uto Uto [Dozing].20 A Circuit of

Dreams (1986, revised 2007), 9 Preludes (2001), Alice in Wonderland (1993), and

Mother Goose (1991) were published as separate collections. Kinoshita’s solo piano

repertoire is listed by title, in both Japanese and English, in Table 2.1.

Kinoshita’s first piano piece, Fantasy (1979), is unpublished. Kinoshita composed

it when she was in college and I have received a copy of the original manuscript from the

composer. Since Kinoshita would like to revise this work, she has asked me not to record

it.21 The work appears very difficult because of the use of irregular rhythms, fast

arpeggiated passages in a wide range, and irregular time signatures.

Kinoshita’s piano pieces for children are well respected in pedagogical circles.

This is evidenced by her publications of individual children’s pieces in The Collection of

Piano Pieces by Composers for Children.22 This series has been published every year

since 1985 and it has become very popular among Japanese piano teachers because of its

accessibility to Japanese contemporary music. Many prominent Japanese composers have

been published in The Collection of Piano Pieces by Composers for Children including

Yoshinao Nakada, Akira Nishimura (b. 1953), Hiroshi Aoshima (b. 1955) and Shinichiro

Ikebe (b. 1943). The Japan Federation of Composers also sponsors a premier concert

20 I will use English titles in this document unless the work was solely titled in Japanese. 21 Makiko Kinoshita, email message to author, September 10, 2009. 22 One piece from The Collection of Piano Pieces by 36 Composers for Children: Kodomo no Jyokei 1 [Scene of Children-1] (2000) was chosen as a required repertoire in the 2001 PTNA Piano Competitions at level B. The competition is a well-known national piano competition in Japan. Level B is for children in fourth grade and under. A complete listing of the pieces composed by Kinoshita for The Collection of Piano Pieces by Composer for Children can be found in the bibliography.

17

every year wherein composers who published music in the series perform their own

pieces.23

Table 2.1: Kinoshita’s Solo Piano Music

Year Published

Titles (Japanese, English)

Publisher

2007 (revised)

夢の回路 (Yume no Kairo)A Circuit of Dreams, I, II

Edition KAWAI

2007 クアッガ

E q. quagga Edition KAWAI

2006 モア

Moa Edition KAWAI

2004 (republished)

GI カットのライオン (GI katto no Lion) The Lion with the GI haircut

Edition KAWAI

2003 うとうと

Uto Uto [Dozing] Edition KAWAI

2001 ９つのプレリュード

9 Preludes Ongaku-no-Tomo-Sha

2000 わくわく

Waku Waku [Exciting] Edition KAWAI

1997 (republished)

ピョコピョコ(Pyoko Pyoko) Hop, hop

Edition KAWAI

1995 思い出のレモンパイ(Omoide no Lemon Pai) A Memorable Lemon Pie

Edition KAWAI

1994 ふんわりババロア

Soft Bavarian Cream Edition KAWAI

1993 不思議の国のアリス

Alice in Wonderland 1. 木かげのアリス[Alice in the Golden Afternoon]

2. 白うさぎを追って[Down the Rabbit-Hole]

3. 涙の水たまり[Pool of Tears]

4. ドードー鳥とおかしなレース[The Dodo and a Strange

Race]

5. イモムシの忠告 [Advice from a Caterpillar]

6. 笑う猫 [Cheshire Cat]

7. お茶会は続く [A Mad Tea-Party Never Ends]

Edition KAWAI

23 日本作曲家協議会[JFC] is a Japanese organization for composers. Their official site can be accessed at: http://www.jfc.gr.jp/index.html

18

8. 女王とクロケット大会 [The Queen’s Croquet-Ground]

9. 裁判は大さわぎ [The Trial in a Muddle]

10. 夢のあと[After the Dream] 1991 アフリカの子どものうた (Africa no Kodomo no Uta)

Children’s Song of Africa Edition KAWAI

1990 犬が自分のしっぽをみて歌う歌 (Inu ga jibunnno shippowp mite utau Uta) Song Sung by a Dog Looking at its own Tail

Edition KAWAI

1991 マザーグース

Mother Goose 1. Three Blind Mice 2. Mrs. Bond 3. Old King Cole 4. The Cuckoo 5. Pussy Cat 6. On Christmas Day 7. Jack and Jill 8. Goosey, Goosey Gander 9. Rock-a-bye, Baby 10. Humpty Dumpty 11. Saint Paul’s Steeple 12. Hey Diddle Diddle 13. Who killed Cock Robin? 14. London Bridge

15. Twinkle, Twinkle Little Star

Edition KAWAI

1989 GI カットのライオン (GI katto no Lion)The Lion with the GI haircut

Edition KAWAI

1988 ピョコピョコ(Pyoko Pyoko) Hop, hop

Edition KAWAI

1986 ピアノ組曲“夢の回路”

Piano Suite “Circuit of Dreams”, I, II, III The Japan Federation of Composers

1979 幻想曲

Fantasy Unpublished

Apart from her solo piano works, Kinoshita has also published two collections of

piano duets. One is Labyrinthine Piano (2010), which includes six advanced duet pieces.

This set is based on Kinoshita’s earlier choral works, including Tio’s Night Trip (1986),

Amusing Cinecamera (1991), and Yoruwa keshite jittowa (1989). The second set is

19

Gentle Rain (2003), which includes ten duets for more pedagogical purposes. Two of the

duets from Gentle Rain were published in The Collection of Piano Pieces by Composers

for Children in 2002 (Messages 2 and 4). This set is meant to be played by a student

(Piano 1) and the student’s teacher or parent (Piano 2). By playing these works, students

can enjoy learning music in an ensemble setting and experience more advanced musical

concepts: rich harmonies, interesting dialogues, and parallel and contrary motion. While

the student’s part (Piano 1) is much easier, musical elements in both parts are similar.

Conclusion

Though Kinoshita never took a complete break from piano writing, her output

was not consistent. In fact, Kinoshita composed less than five minutes of piano music

between the years of 1993 and 2001, subjecting herself to a sort of self-imposed “hiatus”

from the piano.24 Kinoshita realized that when she wrote music, she automatically

imagined a piano producing that sound, even if the piano was not her intended

instrument. She began pursing orchestral and choral composition more seriously in order

to expand the timbres that she could hear while writing. She did not want to default to

hearing only piano sounds. Thus her early experiments with piano writing led to several

choral compositions rather than a deeper exploration of pianistic writing. When Kinoshita

resumed writing for the piano, she noticed that her melodic lines and phrase shapes were

much like those of a singer.25 The following chapter will examine each work for solo

piano in more detail, including their performance and pedagogical issues.

24 Makiko Kinoshita, preface to the score 9 Preludes (Tokyo: Ongakuno-Tomo-Sha, 2001). 25 Kinoshita, interview answer to author, February 1, 2011.

CHAPTER 3

PEDAGOGICAL AND PERFORMANCE CONSIDERATIONS

Introduction

This chapter examines Kinoshita’s solo piano works. The pieces are discussed in

the order in which they appear on my CDs. The first CD incorporates Kinoshita’s

advanced and more challenging music, 9 Preludes and A Circuit of Dreams; the second

CD covers her music for children, Alice in Wonderland, Ten Pieces for Children, and

Mother Goose. The Ten Pieces for Children are treated chronologically, according to

their dates of publication.

The following discussions of each of Kinoshita’s solo piano works encompass

technical challenges, interpretive issues, and pedagogical thoughts. I have also rated the

difficulty of each piece. In order to ground the reader and enhance the performer’s

appreciation of the music, I begin each discussion with a consideration of the work’s

individual character and its distinctive stylistic elements. I chose to initiate this project

with 9 Preludes because my recording is the piece’s premiere recording. A Circuit of

Dreams, Kinoshita’s most complex solo piano work, follows 9 Preludes. Those two sets

are written for advanced pianists. Therefore, I have included more depth of discussion in

the stylistic overview, as well as in the performance suggestions. Next follows Alice in

Wonderland, wherein I introduce the music’s literary background and explain how it

should enhance a performer’s interpretations rather than focusing on stylistic analysis.

21

While Alice in Wonderland includes some technically challenging pieces, it is overall far

less idiomatically complex than the first two set. My discussion concludes with Ten

Pieces for Children and Mother Goose, two sets of simple, short pieces characterized by a

more traditional tonal language. Although these short pieces are deliberately less

sophisticated than the others, they are valuable as pedagogical works. My discussion of

these works stresses their pedagogical angle, rather than their structural characteristics.

9 Preludes

9 Preludes was completed in 2000 and published in 2001, but it was completed

over a period of sixteen years. During 1984-85 Kinoshita was teaching piano lessons to a

particular high school student who dreamt of entering college as a composition major, she

composed a new piece for him for every lesson. 9 Preludes grew out of several musical

ideas from these lessons.1

The generic title of 9 Preludes is exceptional among Kinoshita’s compositions.

Nearly all of her published works have programmatic titles (see for example Alice in

Wonderland or Circuit of Dreams).2 For 9 Preludes Kinoshita simply thought the set

should be entitled “preludes” and that each prelude should be identified by a number. At

first Kinoshita was planning to compose twelve preludes, following the tradition of Bach

and Chopin, who wrote twelve preludes in twelve different keys. Yet Kinoshita

1 Makiko Kinoshita, email message to author, March 15, 2011. Kinoshita remembers that she composed five or six preludes in 1984-85. Later she revised some of these original preludes and even threw some of them away; only Prelude 1 was kept the same as the original. A few preludes were newly composed for the publication. 2 Kinoshita revealed that she usually decides a title of the piece after finishing a composition in the email message to author, February 1, 2011.

22

composed without key signatures, and after completing the ninth prelude she felt that the

collection was organic and complete.3

According to the preface of 9 Preludes, Kinoshita intended to create new music

that sounded modern, beautiful, universal and individualistic, but that also remained

accessible for both the audience and the performing artist. In other words, she was not

interested in composing virtuosic music, but in creating unique sounds and rhythms.4

Each prelude has a unique character but there are some common features that draw the

pieces together. The form of each prelude is usually ternary and the first A section is

usually stated twice (AABA’). Double bar lines indicate these sections, except in Prelude

6. Here the sections are divided by changes in tempo, indicated by specific metronome

markings. The B, or middle, section is often motivically related to the A section, although

the moods of the two sections are sometimes contrasting. The length and placement of

downbeats change frequently, giving the music an improvisatory quality. Kinoshita also

uses parallel fifths, albeit in various ways, to unify the set. The following paragraphs will

discuss each prelude in more detail.

Prelude 1 [CD 1-1]

Stylistic Overview

This prelude is strongly influenced by popular music and jazz: the counterpoint

between the hands, driving syncopated rhythms, and extended harmonies seem to be

3Because the set was conceived in the tradition of twelve preludes, the set remains independent from other composers who wrote collections of nine preludes, including Szymanowski (Op. 1), Fauré (Op. 103), and Ruth Crawford (1928). Makiko Kinoshita, interview answer to author, February 1, 2011. 4 Makiko Kinoshita, 9 Preludes (Tokyo: Ongakuno-Tomo-Sha, 2001).

23

drawn from those genres. For example, rhythmic syncopations and asymmetrical meters

are similar to those in David Brubeck’s Blue Rondo A La Turk (1959), which has playful

undulations between triple and duple groupings of a constant eighth-note pause. The

meter of this prelude changes often, creating combinations of two-, three-, and four-bar

phrases. Changing meters reflect progressive pop music as well. An improvisatory nature

is also suggested by the liberties Kinoshita gives the performer; for example, there are no

pedal indications or detailed articulation markings.

The form is AABA’, with the central section freely expounding upon ideas from

the first. The three main sections are demarcated by double bars. The texture is a

traditional blend of three- and four-voice lines, usually implying extended tertian

harmonies. The music implies B minor in mm. 1-3 with a two-sharp pitch collection

(Example 3.1). It becomes a one-sharp pitch collection in mm. 4-5 and moves to no

accidentals in mm. 6-7. Similar changes continue, but a prolongation on the pitch B ends

each A section and implies B minor (Example 3.2).5 Despite these shifts in pitch center,

the harmonic progression is smooth. This type of modal inflection, moving from one

nearly-related pitch collection to another, is a hallmark of this prelude.

The left hand uses open fifth chords in many places.6 These are often held for an

extended duration and move down by a third, relating to each other in perhaps an

untraditional way (Example 3.3). Through these shifting fifth chords, we see Kinoshita

using chord changes as color changes, much like impressionist composers.

5 The sections prolonging the pitch B are mm. 14-22, 40-49, and 112-129. 6 Open fifth chords and thirds can be seen in many of Kinoshita’s piano works. She likes to use them because those intervals are easy to reach when placing hands on the keyboard, and easy to control the sound. They can be expressive and effective when repeated percussively. Kinoshita, interview answer to author, February 1, 2011.

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At the end of the prelude Kinoshita introduces a creative transition to link the first

prelude to the second. Prelude 1 ends on an open fifth on B, and Prelude 2 starts by filling

in the missing D; however, the resolution of the complete B minor triad is undermined in

m. 1 (See Example 3.5 under Prelude 2) when the left hand enters in C major.

Suggestions for Performance

Since there are not many performance indications on the score, but the prelude

has an improvisatory quality, it is important for the performer to think about the sense of

timing between phrases. Imagine taking a slight breath between phrases, in which the arm

would be slightly lifted up. For example, the sense of lifting would happen between mm.

3 and 4, beats 2 and 3 in mm. 8 and 11, and beats 3 and 4 in m. 14. In the A section, make

sure the eighth notes in the left hand drive in 5/8 time with a subtle emphasis on the

downbeat. It is easy to have an incorrect accent on the fourth beat when the eighth-note

becomes a quarter-note (mm. 4-6 and mm. 17-22). When the melody is played in chords,

the arm should help move the hand horizontally but not vertically so that the melody

sounds smooth (mm. 4-8 and mm. 17-23). In the B section, when the right hand has

melodies built in thirds (Example 3.2), the performer needs to make the melody flow

smoothly. Playing eighth notes between the thirds quieter will help. Finally, whenever the

left hand has a long open fifth chord, the right hand should wait to come in until the

dynamic of the chord decays (mm. 27 and 99). The performer might need to hold the

chord a bit longer than it is notated. This will allow the entrance of the recurring theme

to be more effective.

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Melodies in thirds will sound better if the soprano line sounds slightly more than

the lower line. When playing a large rolled chord such as in m. 11, bring the chord out of

the preceding four eighth notes, as if all the notes are just one chord. In other words, play

everything as a single gesture. To make the rolled chord sound smoothly, the right hand

can take the notes of the second beat (D and E). In mm. 29-36 the music becomes excited

and wants to move forward; however, grow gradually so that the musical momentum

builds to a climax in m. 37.

Level of Difficulty: Medium difficult

Prelude 3 [CD 1-3]

Stylistic Overview

Prelude 3 features two different ideas: a busy, running figuration (m. 1) that

contrasts with declamatory chords (m. 2). This creates a dichotomy between horizontal

and vertical motion (Example 3.7). In fact, the music begins to sound like an argument

between two characters; the first person wants to go forward but keeps getting interrupted

by the second, defiant one.

The chords of the second idea are closely spaced, moving in chromatically related

major triads. For example, in m. 2 there are Db, Cb(B), and Bb major chords. These have

short, dry articulations, which resemble the opening to Debussy’s etude Pour les accords

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34

Like Prelude 3, this piece also has two contrasting characters. The A section is

coloristic, simple and lyrical, while the B section is more rhythmic and syncopated. The

B section is also reminiscent of neo-classicism. Beginning at m. 17 there is a “sentence”

structure: basic idea + basic idea + continuation + cadence (Example 3.13a).7 In fact, this

is a “compound theme”: two sentence structures (6 + 6) within the “period” structure.

The first six measures (mm. 17-22) have a cadence that goes to G and the second six

measures (mm. 23-28) end on D. This kind of technique was used by classical

composers, such as Beethoven, Mozart, and Haydn (Example 3.13b). Kinoshita also used

the same structure in the A section of Memorable Lemon Pie.

This piece also resembles Ravel’s “Forlane” from Tombeau de Couperin,

particularly with its use of dotted rhythms and parallel motion chords. The simple yet

sophisticated harmony, created by gliding parallel fifths, also sounds like Ravel (Example

3.14).


The B section should be played with a sense of forward direction because of its

repeating rhythmic motives. While Kinoshita indicates a tempo marking of a dotted

quarter note as 42, the piece could be played in a faster tempo to help it flow more

organically.


7 Terminology and ideas came from William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press 1998). The “period” structure consists of “antecedent (basic idea + contrasting idea)” and “consequent (basic idea + contrasting idea).” Antecedent is followed by half cadence, and consequent is followed by a perfect cadence. In examples 3.13a and 3.13b antecedent and consequent sections have sentence structure by themselves.

E

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Example 3.13

Example 3.13

3a: Makiko

3b: Beethove

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Example 3.31

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mm. 82-89

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51


It is difficult to keep an even sound when playing extended trills at a pianissimo

(pp) dynamic. I suggest using measured trills first (the performer may decide how many

trills to play in a beat), and free trills later to shape phrases. In playing long tremolos,

make sure to transition between groups smoothly. These changes should create a long

line and should not be disjunct: play slightly more into the key at the end of the preceding

tremolo and the beginning of the following tremolo.

Tempo changes due to ritardando, a tempo, and accelerando markings can help

the music sound improvisatory. A good sense of flow and phrase shaping is essential to

play this piece musically.

Level of Difficulty: Difficult

Prelude 9 [CD 1-9]

Stylistic Overview

The form of Prelude 9 is an arch form, A B1 B2 A + codetta, which is a little more

complex than the preceding preludes. Measures 1-27 present the first theme (A) which

contains a dialogue between two ideas: vertical repetitive motion and a horizontal

melody. Measures 28-48 introduce the second theme (B1), which reverses the ideas of the

first theme. Here the horizontal melody comes first and is followed by repetitive motion

with a fixed bass prolonging the pitch B. The first two measures of the second theme

(mm. 28-29) include a whole tone scale plus E (F, G, A, B, C# + E). At m. 47 there is a

new theme (B2) that begins a developmental area. At m. 85 the first theme returns in the

recapitulation. A codetta with new closing material closes the prelude.

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faster, rhythmic preludes. Therefore, while the preludes can function alone or within

smaller groupings that share characteristics, 9 Preludes works well as a complete set.

Table 3.1 indicates the different genres and styles Kinoshita uses for 9 Preludes.

Her musical language is influenced by jazz and pop music (Preludes 1 and 5) as well as

classical traditions. Yet her approach to tonality is often unconventional: she creates

unique pitch collections (Preludes 1 and 8), juxtaposes unrelated chords (Prelude 6),

coloristic gliding fifths (Prelude 1), and complex metrical ambiguity (Preludes 4 and 8).

Table 3.1: Summary of 9 Preludes

Prelude Stylistic characteristics Techniques

1 -Pop music / Jazz influence -Implies B minor -AABA’ form -The use of open fifth is impressionistic.

-Frequent time changes -Double thirds

2 -Coloristic and dreamy -Use of Whole-tone scales -AABA’ form

-Rolled chords -Double thirds

3 -Two contrasting characters -Influence of Shostakovich and Prokofiev -AABA’ form

-Fast sixteenth-note passages -Chords

4 -Siciliana -Coloristic/Lyrical -Metric ambiguity - Reminiscent of neo-classicism -AABA’ form

-Dotted rhythms -Lyrical playing

5 -Pop music influence -Open fifth chord as “power chord” -AABA’ form

-Driving sixteenth-note rhythms -Rests on the down beat -Syncopations -Frequent time changes

6 -Ethereal feel - Chromatic voice leading -AABA’ form

-Rolled chords -Effective pedaling

7 -Implies F minor -Ternary + coda, however it

-Fast sixteenth-note passages -Chords

56

sounds like Rondo form -Motivic -Two contrasting character in the B section

-Octave playing -Staccato -Accent -Polyrhythm

8 -Coloristic / Lyrical -Use of Octatonic pitch collection -Frequent time changes -ABA’ form

-Long trills -Long tremolos -Octave playing

9 -Two contrasting characters -Arch form (AB1B2A’ + codetta) -Use of whole-tone scale

-Motoric rhythms -Repetitive chords / notes -Double thirds -Syncopations -Accent

Kinoshita’s combination of techniques is not an example of mimicking other

composers, but more of a testament to her diverse musical training and imaginative

writing style. If the preludes are taken one by one, the listener only gets a small taste of

Kinoshita’s brilliance. Considering 9 Preludes as a whole allows the listener to

experience the full impact of her style.

9 Preludes, Overall Level of Difficulty: Late intermediate – Difficult

57

A Circuit of Dreams

A Circuit of Dreams was published in 1986 and revised in 2007. The suite is the

only piano repertoire Kinoshita composed during her 20s-30s: at this time she was

primarily composing for orchestra and choir.

A Circuit of Dreams originally had three movements and was published as Piano

Suite “Circuit of Dreams” by the Japan Federation of Composers (JFC). The score is

hand-written. The original second movement of the suite was extremely demanding and

many pianists could not play it well. Kinoshita heeded suggestions from concert pianists,

such as Miho Shibata, and rewrote the set between 1997 and 1998. She removed the

second movement and also changed many sections in the first and final movements.

Following the advice of her pianist friend Miho Shibata, Kinoshita later added clearer

articulation and pedal markings.11 She published the revised version of A Circuit of

Dreams in 2007.12

As the original title indicates, the set is meant to be a “suite” that includes two

independent pieces. The title “A Circuit of Dreams” was chosen after Kinoshita finished

composing. When she had finished the first movement, she connected the work to an

image from a scene from the book Heinrich von Offerdingen by Novalis (1772-1801)

wherein the main character has a sweet and visionary dream. The choice of “circuit”

came from the character of the second movement (originally the third movement), which

11 Miho Shibara has recorded two of Kinoshita’s works, A Circuit of Dreams and Twisting Landscapes in a CD, The Trembling Moon, ALM Records/Kojima Recordings ALCD-71, CD, 2007. 12 Makiko Kinoshita, A Circuit of Dreams (Tokyo: Edition KAWAI, 2007) 2.

58

has driving rhythms and sudden stops in a dry texture. In essence, the piano is used as a

percussive instrument.13

Movement I [CD 1-10]

Stylistic Overview

Like Preludes 2, 4, 6, and 8 of the 9 Preludes, this movement uses coloristic

harmonies to create a dreamy atmosphere; however Kinoshita’s use of trills, tremolos,

arpeggios, and secco articulations more resemble her writing for the piano in the second

movement of Twisting Landscapes (2004), a chamber work for clarinet, violin, and

piano.14 For example, both movements use melodic fourths with staccato articulations in

a high register with pedal (Example 3.35a and 3.35b).

In the first movement of A Circuit of Dreams dynamics range from ppp to fff and

the movement has a texture like Chopin’s nocturnes, especially at the beginning

(Example 3.36). Broken accompanimental patterns, melismatic writing, and complex

rhythms such as three against seven, should be executed as a single, smooth gesture.

While this movement has recurring thematic and rhythmic elements, the form is

hard to define. Perhaps it is best described as a fantasy in four parts. I indicate these

sectional divisions in Table 3.2 with horizontal double bars.

13 Kinoshita, interview answers to author, February 1, 2011. 14 Makiko Kinoshita, Twisting Landscapes, (Tokyo: Ongakuno-Tomo-Sha, 2007).

E

E

E

Example 3.35

Example 3.35

Example 3.36

5a: Makiko

5b: Makiko

6: Makiko K

Kinoshita, A

Kinoshita, T

Kinoshita, A

A Circuit of D

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60

Table 3.2: Form of A Circuit of Dreams, I

Mm. 1 Element 1 Fantasia-like theme 13 Element 2 Tremolos 17 Element 1 Fantasia-like theme 33 (Transition) Element 3 Chorale texture legato 40 Element 1 Rhythmic motif 42 Element 3 Chorale texture secco 51 Element 1 Rhythmic motif 52 Element 3 Chorale texture secco 65 Element 3 Chorale texture legato 72 Climax and feverish alternation between elements 1 and 3 82 Element 2 Tremolos 90 (Codetta) Element 1 Fantasia-like theme *Double lines indicate that the score has double bars to divide sections.

The first part introduces three thematic elements. Element 1, a fantasia-like

theme, has left hand ascending arpeggiation, which harmonically supports melismatic

figuration in the right hand (Example 3.36). Element 2 consists of tremolos that appear at

the culmination of element 1 (the fantasia-like theme). This progression from element 1

to element 2 occurs from mm. 1-16 (element 1: mm. 1-12; element 2: mm. 13-16). At m.

17 the fantasia-like theme returns. This second appearance of the fantasia-like theme also

builds to a climax but now uses materials derived from its own gestures as opposed to

tremolos. In mm. 31-32 chords are used to attenuate the returned fantasia-like theme

section that began in m.17. These chords foreshadow element 3, blocked chords in a

chorale texture, which appears at m. 33 (Example 3.37). This final element occurs with

both legato and secco articulations.

A transition occurs from mm. 33-39 and then the second part of the fantasy begins

at m. 40. Measures 40-64 can also be divided into two sections: mm. 40-50 and mm. 51-

64. The beginning of these two sections starts with the rhythmic motif from element 1 in

th

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62


In the preface to the score Kinoshita indicated that the pianist needs to use the

pedal effectively to create interesting colors and reverberations throughout the

movement.15 The performer needs to carefully listen to the sound and make a decision as

to which kinds of pedaling will be the most effective: clear pedal changes, over-lapping

pedal, half-pedal, or no pedal-changes at all. Kinoshita suggests making longer phrases; I

suggest holding the damper pedal longer, as in Prelude 6. Find the point where the sound

becomes overly dissonant, and then adjust your pedaling. Aim to create the maximum

amount of color without over-blurring the sound.

Frequent changes in meter help create an improvisatory feeling. As I mentioned

earlier in the discussion of 9 Preludes, the extended tremolo sections in mm.13-16 and

mm.81-89 (Example 3.30b) also help create the type of dreamy atmosphere that

Kinoshita discusses in the preface to the score. The performer needs to consider this

character as well as effective pedaling.

Since some notes should be held in order to generate a reverberant sound, I have a

few specific fingering suggestions. In m. 1 I would use the right hand to play the F# in

the bass clef. This allows the left hand to hold a C on the downbeat, which could be lost

in half-pedaling, and creates better bass support (Example 3.39). In m. 13 and m. 56 I

would use both hands to play the tremolos with the left hand taking the downbeat

(Example 3.40a and Example 3.40b).


15 Kinoshita, A Circuit of Dreams, 2.

E

E

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Example 3.39

Example 3.40

Example 3.40

9: Makiko K

0a: Makiko

0b: Makiko

Kinoshita, A

Kinoshita, A

Kinoshita, A

Circuit of D

A Circuit of D

A Circuit of D

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Dreams, I, m

Dreams, I, m

mm. 1-2

m. 13

mm. 55-56

63

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Movement II

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places, hinting at Stravinsky and Bartók. The frequent change of time signatures and the

percussive use of seconds also suggest Bartók.

Like the first movement, this movement does not fit into any traditional form. It

can be divided into seven sections, creating an A B C/A C A A format with an

introduction (See Table 3.3). In the introduction (mm.1-36), Kinoshita explores an

overtone effect (Example 3.42). The effect is caused by a sustained major second dyad (B

and C#) on the down beat in m.1. This dyad is held for seventeen measures and then

reiterated in m. 18. Steady staccato eighth-note motion featuring quartal melodic outlines

often appears against this long, sustained harmony. Each time the melodic idea becomes

a little longer (mm. 6, 11-12, 16-17). In mm. 20-36 it appears in its fullest form over

chordal seconds, thirds, and fourths.

Table 3.3: Form of the second movement

Mm. Sections 1-36 Intro. Introduction (perpetual eighth-note motion) 37-70 71-79

A

Theme 1 (mm.31-51) & Perpetual eighth-note motion (staccato) Eighth-note motion (legato)

80-108 B Lyrical melodies in parallel thirds 109-114 (C) Chords in back and forth motion 115-142 C+A Chords in back and forth motion & Perpetual eighth-note motion (staccato)143-184 C Chordal section (highly percussive) 185-226 A Perpetual eighth-note motion (staccato) 227-241 A Theme 1 (reprise) *Double lines indicate that the score has double bars to divide sections.

E

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Circuit of D

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The end of the B section and following C section are highly percussive. The

chordal motion back and forth at the end of the B section grows increasingly rhythmic

and introduces the C section with the same motion and varied rhythms. The C section has

some recurring rhythmic motives: two eighth-note chords (a), repetitive eighth-note

dyads (b), sporadic sixteenth-note motion (c), octave eighth-note motion with quartal

melodic outlines (d), and a group of two sixteenth-notes and one eighth-note (e)

(Example 3.45). While those motives recur many times, they seem to appear almost

randomly. Motive (a) concludes this section in m. 184.

Repetitive eighth-note motion on a G pedal tone initiates the second A section at

m. 185. Notes are gradually added in mm.198-204 (Example 3.33b). As seen in Prelude

9 of the 9 Preludes, this is a trademark of Kinoshita’s compositional style. The first

theme finally returns in m. 227. In contrast to the rather crazy and exciting character of

this movement, the ending fades out with piano dynamic (Example 3.46).


While the tempo should drive forward in order to create a breathless feeling, it is

important for the pianist to think in bigger phrases. The performer must have a good

sense of flow and direction to make musical sense; otherwise the music tends to sound

like a type writer.

Accents on weaker beats, rests on down beats, irregular metrical shifts, and

disjunctive leaping chords are challenging for most pianists. To gain control of the

perpetual eighth-note passages with both staccato and legato articulations, the hands

should stay close to the keyboard. Avoid always playing loud; it is easy to play loudly

E

E

Example 3.45

Example 3.46

5: Makiko K

6: Makiko K

Kinoshita, A

Kinoshita, A

Circuit of D

Circuit of D

Dreams, II, m

Dreams, II, m

mm. 169-180

mm. 237-241

0

1

69

70

because of the technical challenges, but a constant dynamic intensity destroys the many

colors of the movement. Control of dynamics is important for an exciting performance.

For repetitive and successive chords, such as the (a) motive in the C section, it might be

helpful to use down-up wrist motions. For disjunctive leaping chords and octaves, make

sure to use integrated arm gestures to get to the next position fluidly. This will help

produce a solid sound.


Summary

While Kinoshita’s revision of A Circuit of Dreams became more pianistic than the

older version, the two newer versions of the movements still represent Kinoshita’s early

works. At times the multiplicity of ideas in a single movement, especially the second

movement, make the music sound pluralistic. Yet these more advanced concert pieces are

dynamic works, containing rhythmic and harmonic intricacies that present considerable

challenges to the performer.

Circuit of Dreams, Overall Level of Difficulty as a Whole: Difficult

71

Alice in Wonderland

The Piano Pieces for CHILDREN for Small Hands

In 1993 Kinoshita was commissioned by the Edition KAWAI16 to compose music

for a series entitled The Piano Pieces for CHILDREN.17 She decided to compose a suite

related to the fairy tale Alice in Wonderland by Lewis Carroll.18 Since this suite was

intended for children, Kinoshita composed music inspired by the colorful Disney

children’s picture book Walt Disney’s Alice in Wonderland.19 Kinoshita believes that

Alice, the main character in this story, shares characteristics with girls today who are

precocious and have an adventurous spirit.20 She specifically chose a story that has a girl

as a main character because the majority of young piano students in Japan are girls.21

Kinoshita’s imaginative setting is helpful for enhancing musicality and expressive

playing. In the score, which includes ten pieces, each piece includes a short description of

Alice’s story, Kinoshita’s comments for the performer, and a charming illustration

(Figure 3.1).22 Kinoshita’s commentary is creative and descriptive and works to guide

students’ musical imaginations. The charming illustrations on the score also help young

16 Edition KAWAI is a major music publication company in Japan. 17 Twenty five major Japanese contemporary composers, including Shinichiro Ikebe, Yoshinao Nakada, and Akira Miyoshi (b. 1933), have been commissioned by this series to promote method books for children in Japan. Some scores have titles in both Japanese and English. Others have titles only in Japanese. The English titles are not consistent; some, like Alice in Wonderland, have CHILDREN in capital letters. However, Japanese titles are always the same こどものためのピアノ曲集 (Kodomono tameno Piano Kyokushu). 18 Lewis Carroll, Alice in Wonderland, 2nd ed. (New York: W.W. Norton & Co., c1992). 19 Kinoshita was inspired by both the book and movie by Walt Disney. The VHS that Kinoshita watched is out of publication, Alice in Wonderland, Walt Disney Classics, VWDS5598, DVD, 2010 is the closest one that is available today. 20 Makiko Kinoshita, Preface to Alice in Wonderland (Tokyo: Edition KAWAI, 1993), 3. 21 Kinoshita, interview answers to author, February 1, 2011. 22 Edition KAWAI inserted illustrations in the process of publication. The illustrator and Kinoshita did not have any connections.

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llow the stru

ed by teachersin 1881.

em to connec

piece gets lo

eyer’s

n sonatinas a

divide the

ucture of the

. It was brough

72

ct the

nger.

and

ht by

pr

co

1

is

th

(E

tr

sh

2

ov

th

L

E

receding sec

onsideration

. Alice in th

This

s falling asle

hat pianists p

The th

Example 3.4

riads in this p

hifts from m

6-27, 30-31,

Kinos

verlays acco

his piece is u

Level of Diff

Example 3.47

ctions of this

ns of the perf

he Golden A

first piece in

ep in the sha

play this piec

heme of this

47). The form

piece and of

major to the p

, 42-43, and

shita primari

ompanimenta

useful for dev

ficulty: Easy

7: Makiko K

s chapter in t

formance iss

Afternoon [C

ntroduces th

ade under a t

ce like a lull

piece return

m is ABA’ an

ften uses thes

parallel mino

50-51) (Exa

ly uses hom

al broken ch

veloping lyr

y

Kinoshita, Al

that brief sty

sues.

CD 2-1]

he pianist to A

tree. To help

aby.

ns in varied f

nd the key is

se triadic ch

or are used fr

ample 3.47).

mophonic wri

hords in the l

ricism.

lice in Wond

ylistic overvi

Alice at the

p create this

form in man

s C major. K

ords as colo

requently for

iting: a simp

left. Because

derland, no.1

iews segue in

point in her

image, Kino

ny of the sub

Kinoshita onl

r changes. F

r color (mm

ple melody in

e of the right

1, mm. 10-14

nto

story where

oshita sugge

sequent piec

ly uses simp

For instance,

m.10-11, 18-1

n the right ha

t hand melod

4

73

e she

sts

ces

ple

19,

and

dy,

2

si

is

te

3

4

E

E

24

54

. Down the

This p

ixteenth-note

s again C ma

exture is hom

.48). In the A

0) which hel

Example 3.48

Example 3.49

This is similar4-58 in Prelude

e Rabbit-Ho

piece describ

es are used t

ajor and the f

mophonic, fe

A section mi

lps the musi

8: Makiko K

9: Makiko K

r to Prelude 7 ie 7 (See Examp

ole [CD 2-2]

bes Alice cha

throughout th

form is ABA

eaturing a me

inor seconds

c sound play

Kinoshita, Al

Kinoshita, Al

in 9 Preludes, ples 3.16 and 3

asing a rabbi

he piece, mu

ACA with a

elody with a

s are used pe

yful and hum

lice in Wond

lice in Wond

especially in m3.17).

it that dives

usically repr

short introdu

alberti bass a

ercussively (

morous (Exam

derland, no.2

derland, no.2

mm.45-48 in “D

into a hole.

resenting a ch

uction (mm.

accompanim

(mm. 11-12,

mple 3.49).

2, mm. 5-8

2, mm. 11-12

Down the Rabb

Continuous

hase.24 The k

1-4). The

ment (Exampl

19-20, and 3

2

bit-Hole” and m

74

key

le

39-

mm.

an

p

d

(E

ac

3

L

E

In the

nd the melod

assages that

escending ch

Example 3.5

Thoug

ccompanime

.45). This pi

Level of Diff

Example 3.50

B section (m

dy switches

first appeare

hromatic pas

50).

gh the music

ental sixteen

iece is usefu

ficulty: Inter

0: Makiko K

mm. 21-32)

to the left ha

ed as broken

ssage describ

c is fun and v

nth-note brok

l for improv

rmediate

Kinoshita, Al

the right han

and. In the C

n chords in b

bing Alice a

very descript

ken chords e

ving delicate

lice in Wond

nd takes ove

C section (mm

both A and B

and the rabbi

tive of narra

venly might

and fast fing

derland, no.2

er the accomp

m. 41-52) si

B sections be

it’s fall down

ative events,

t be tricky to

ger techniqu

2, mm. 41-52

panimental r

ixteenth-note

ecome a long

n the hole

playing the

o play (Exam

ue.

2

75

role

e

g

mple

3

w

b

w

se

fe

3

E

ap

b

(E

N

cr

. Pool of Te

After

where she gro

egins crying

with tempo ch

The fi

ection acts a

eeling of bei

.51).

Example 3.51

Alice’

ppears in var

ecomes desc

Example 3.5

Near the end

rescendo and

ears [CD 2-3

chasing the

ows bigger a

g and her tear

hanges and h

ive sections

as an introdu

ing lost in a s

1: Makiko K

’s theme from

rious forms.

cending brok

52). The last

of this sectio

d accelerand

3]

rabbit, Alice

and then sma

rs form a de

her crying w

in this piece

ction. The m

strange worl

Kinoshita, Al

m the first p

In mm. 21-

ken chords, n

two notes of

on (mm. 21-

do markings

e loses its tra

aller without

ep pool. Thi

with grace no

e are indicate

music implies

ld. Grace no

lice in Wond

iece of the s

22 the left h

not ascendin

f the melody

-39) Alice be

s from mm.3

acks and find

t control. Wh

is piece depi

otes.

ed by differe

s A minor an

tes indicate

derland, no.3

set, “Alice in

hand broken

ng broken ch

y also signify

egins growin

6-39 (Exam

ds herself in

hen she expa

icts Alice’s c

ent tempo ma

nd describes

her dropping

3, mm. 1-4

n the Golden

chord accom

hords as in th

y Alice’s dro

ng bigger wi

mple 3.53).

n a strange w

ands, Alice

change in siz

arkings. The

s Alice’s anx

g tears (Exam

n Afternoon,”

mpaniment

he original th

opping tears

ith poco a po

76

world

ze

e first

xious

mple

”

heme

.

oco

E

E

In

la

m

an

Example 3.52

Example 3.53

n the Poco p

arger tears. T

motive from A

At the

nd almost dr

2: Makiko K

3: Makiko K

più mosso sec

This section

Alice’s origi

e beginning o

rowns in her

Kinoshita, Al

Kinoshita, Al

ction (mm. 4

also uses the

inal theme.

of the Più m

r big pool of

lice in Wond

lice in Wond

40-55) there

e broken acc

osso section

f tears (Exam

derland, no.3

derland, no.3

are more gr

companimen

n (mm. 56-57

mple 3.54). A

3, mm. 21-24

3, mm. 33-44

race notes in

nt and dotted

7) Alice bec

Alice’s theme

4

4

ndicating Ali

d rhythmic

omes smalle

e appears in

77

ce’s

er

the

ri

un

E

T

st

as

h

ar

L

4

T

ight hand in

nfinished fee

Example 3.54

This p

Tempo chang

tory and scen

ssist in achie

and, exercis

rticulations.

Level of Diff

. The Dodo

When

They are all d

mm. 58-60.

eling.

4: Makiko K

piece is more

ges might be

ne will help

eving a bette

es in grace n

ficulty: Inter

o and a Stra

n Alice gets t

dripping-wet

The piece e

Kinoshita, Al

e musically a

especially c

the student u

er flow. This

notes, and pa

rmediate

ange Race [C

to the shore

t because of

nds on a G s

lice in Wond

and technica

challenging f

understand a

s piece provi

arallel third p

CD 2-4]

of the tear p

Alice’s tear

seventh chor

derland, no.3

ally complex

for the youn

and interpret

ides a good t

playing with

pool, she sees

s. They begi

rd, giving “P

3, mm. 56-6

x than the fir

ng performer

t the music,

trill exercise

h both legato

s many stran

in running in

Pool of Tears

1

rst two piece

r. Imagining

and will also

e for the left

o and staccat

nge creatures

n a circle to

78

s” an

es.

the

o

to

s.

dry

79

themselves. Motoric eighth-note passages with staccato articulations throughout the piece

describe this drying race and create a cheery sense of playfulness.

While there is no key signature on the score, the music sounds in F major. The

texture is homophonic and, like “Down the Rabbit Hole,” the form is ABACA with an

introduction.

Here the introduction focuses on playing thirds. Since there are no fingering

indications on the score, the performer must devise good fingerings to play the thirds

evenly and smoothly. For example, I suggest using both hands to play parallel thirds until

the third beat in m. 2. This will allow students to articulate the passage with better

control.

The race commences at m.20, which is the beginning of the A section (Example

3.55). Major seconds are used percussively, as in “Down the Rabbit-Hole” (Example

3.56). The C section has melodies in the left hand; trills and chromatic passages are also

introduced in many places. These trills and chromatic passages are short and help prepare

students for longer trills and chromatic scales in the latter pieces of the set. Alone, this

piece presents a good opportunity for practicing thirds, staccatos, trills, and sixteenth-note

and chromatic passages at a fast tempo.


E

E

5

h

is

k

in

es

Example 3.55

Example 3.56

. Advice fro

In the

ookah in the

s represented

ey signature

n G minor. K

specially dec

5: Makiko K

6: Makiko K

om a Caterp

fifth piece o

e woods. The

d by long tril

e to G minor;

Kinoshita’s u

ceptive (Exa

Kinoshita, Al

Kinoshita, Al

pillar [CD 2

of the set, Al

e caterpillar

lls (Example

; however m

use of an A m

ample 3.30a)

lice in Wond

lice in Wond

2-5]

lice meets a

creates a sm

e 3.28). For t

many acciden

major triad in

).

derland, no.4

derland, no.4

caterpillar w

moky, dull an

the first time

ntals make it

n the last me

4, mm. 19-25

4, m.27

who is lazily

nd gloomy at

e in the set w

t hard to tell

easure to end

5

y smoking a

tmosphere w

we have a sh

that this pie

d the piece is

80

which

ift in

ce is

s

h

tr

m

ap

gr

w

tr

7

th

C

w

a

re

L

E

The fo

as only 15 m

rills and grac

music in this

This p

ppear on the

race notes. T

which the per

rademarks, lo

1 (Example

he air.

Aside

Creating a co

will sound sq

variety of em

epresent the

Level of Diff

Example 3.57

orm is ABA

measures wh

ce notes, the

section seem

piece is a goo

e upbeat (the

These are tric

rformer may

ong tremolo

3.30a). Both

from techni

nvincing mo

quare and life

mphases on

caterpillar’s

ficulty: Late

7: Makiko K

’ with an int

ereas the firs

B section in

ms to depict

od exercise f

third beat o

cky to conne

y decide how

s, is also use

h the trills an

ical challeng

ood is essent

eless. The pe

different be

s slow, uneve

e intermedia

Kinoshita, Al

troduction. T

st A section

ntroduces pa

the caterpill

for practicin

of the 3/4 me

ect smoothly

w many trills

ed in this pie

nd tremolos p

ges, this piec

tial. Without

erformer sho

ats. The mus

en pace.

ate

lice in Wond

The reprised

has 39. Whi

arallel thirds

lar moving s

ng trills and g

eter) and are

y. I suggest u

to play in a

ece in mm.29

portray wisp

ce focuses he

t a lazy, smo

ould shift the

sic must not

derland, no.5

A’ section i

ile the A sec

moving chro

lowly: gut-f

grace notes.

sometimes f

using measu

beat. One o

9-32 (Examp

ps of smoke

eavily on mu

oky atmosph

e musical do

t be predictab

5, mm. 29-32

is compresse

ctions focus

omatically. T

first, body-la

Short trills o

followed by

ured trills, in

f Kinoshita’

ple 3.57) and

floating up

usical expres

here, the mus

ownbeat to cr

ble in order

2

81

ed; it

on

The

ater.

often

s

d 68-

in

ssion.

sic

reate

to

6

in

T

th

rh

in

3

rh

en

se

dy

L

E

25

. Cheshire

For th

n Wonderlan

The music co

The fo

hroughout. B

hythm also c

ncludes majo

The te

.58). These o

hythms, inclu

ncourages th

ense of origi

ynamics to e

Level of Diff

Example 3.58

Kinoshita, Ali

Cat [CD 2-6

his piece, Kin

nd wherein th

onveys the w

orm is ABA

Both the A an

characterizes

or seconds, w

echnical focu

occur mostly

uding accen

he performer

inality and o

emphasize.

ficulty: Inter

8: Makiko K

ice in Wonderla

6]

noshita was

he Cheshire

weird motion

’. This is a to

nd B section

s the melody

which appea

us of this pie

y with stacca

nts on weaker

r to emphasi

ownership. H

rmediate

Kinoshita, Al

and, 28.

inspired by

cat slowly d

s of this big

onal piece th

ns include pa

y of the A sec

ar as an accom

ece is chrom

ato articulati

r beats and r

ze accents a

Here the perfo

lice in Wond

an image fro

disappears un

fat cat.

hat stays in t

arallel thirds

ction (Exam

mpaniment.

matic passage

ions. There a

rests on dow

and dynamics

former shoul

derland, no.6

om the Disne

ntil only its

the key of D

. A dotted-e

mple 3.58). T

es in parallel

are also man

wnbeats. Kino

s in order to

ld choose wh

6, mm. 1-3

ey movie Al

grin remains

major

ighth-sixteen

The B section

l thirds (Exam

ny syncopate

oshita

give the mu

hich accents

82

lice

s.25

nth

n also

mple

ed

usic a

and

83

7. A Mad Tea-Party Never Ends [CD 2-7]

In this scene, time stops while the March Hare and the Mad Hatter have a rather

crazy and absurd tea party. Since they do not notice their watches have stopped, they

drink tea continuously. The Mad Hatter seems to chatter incessantly, interrupting others

as they speak, and this happens in the C sections of this piece.

The key signature of “A Mad Tea-Party Never Ends” is F major, but the key often

changes because of accidentals. The time signature is 9/8, with occasional switches to

6/8. The form could be rondo (A B A’ C A’’) with a short introduction or large-scale

ternary (See Table 3.4). The C section is a miniature rondo in which a lyrical theme keeps

recurring. Each section has its own theme and every section but the C section includes

hemiola rhythms.

Table 3.4: Form of “A Mad Tea-Party Never Ends” Sections Mm.I A (Introduction 1-2) - 18 Primary theme

B 19-34 LH: off-beat accompanimental patternA’ 35-51 Primary theme

II Miniature rondo

C 52-57 Lyrical themeInterruption 58-59 Vertical motion in the left hand C (continued) 60-65 Lyrical themeInterruption 66-67 Vertical motion in the left hand Transition 68-75 Sequence Retransition 76-79 Vertical motion in the left hand C 80-87 Lyrical themeExtended transition

88-99 Vertical motion in the left hand

I A’’ 100-121 Primary theme

p

se

E

qu

K

th

ex

m

ar

th

cl

se

The A

iece (Examp

ection. Both

Example 3.59

In con

uality. In mm

Kinoshita usu

he character

xample, une

motion is tric

rticulations (

The tr

hirds; the lef

losing A sec

ection’s own

A section has

ple 3.59). A

the A and B

9: Makiko K

ntrast to the l

m.52-57 Kin

ually uses a h

of the C sec

xpected vert

ky because i

(Example 3.

ransition (mm

ft hand accom

ction these pa

n thematic m

s a memorab

left hand off

B sections ar

Kinoshita, Al

lively charac

noshita also u

homophonic

ction, the Ma

tical motion

it moves chr

61a and Exa

m. 68-75) in

mpanies the

arallel thirds

material (Exa

ble theme tha

f-beat accom

e energetic a

lice in Wond

cter of A and

uses a polyp

c texture (Ex

ad Hatter oft

appears in t

romatically i

ample 3.61b)

ntroduces a n

right hand w

s and grace n

ample 3.62b)

at repeats ma

mpanimental

and jovial.

derland, no.7

d B sections

phonic textur

xample 3.60)

ten interrupts

the left hand

in parallel m

).

new theme in

with grace no

notes reappe

).

any times thr

pattern sign

7, mm. 3-4

, the C sectio

re; this is un

). While the

s the melodi

d in mm. 63 a

major second

n the right ha

otes (Examp

ear in conjun

roughout the

nifies the B

on has a lyri

ique because

lyricism def

ic line. For

and 83. This

s with stacca

and in parall

ple 3.62a). In

nction with th

84

e

ical

e

fines

s

ato

lel

n the

he A

E

E

E

Example 3.60

Example 3.61

Example 3.61

0: Makiko K

1a: Makiko

1b: Makiko

Kinoshita, Al

Kinoshita, A

Kinoshita, A

lice in Wond

Alice in Won

Alice in Won

derland, no.7

nderland, no

nderland, no

7, mm. 52-57

.7, m. 63

o.7, mm. 83

7

85

E

E

Example 3.62

Example 3.62

2a: Makiko

2b: Makiko

Kinoshita, A

Kinoshita, A

Alice in Won

Alice in Won

nderland, no

nderland, no

.7, mm. 67-7

o.7, mm. 116

75

6-121

86

h

p

h

T

m

u

n

st

su

fi

fi

fo

L

E

26

The o

er comment

ieces.26 The

emiola rhyth

There are sec

mm.104-105

ses less dyna

For th

ecessary in m

tudents beca

uggest the fo

ingerings 2 a

ingerings (Ex

or more adva

Level of Diff

Example 3.63

Kinoshita, Ali

verall mood

s on the scor

technical el

hms, dynami

tions with m

(Examples 3

amic range a

he transition

mm.70-71, 7

ause of the us

ollowing fing

and 3 for all

xamples 3.6

anced repert

ficulty: Med

3a: Makiko

ice in Wonderla

d of this piec

re, this piece

ements in th

ic contrasts,

mirror and pa

3.63a and 3.

and is genera

section, app

74-75 and 11

se of hemiol

gerings for t

the grace no

2a and 3.62b

toire.

dium difficu

Kinoshita, A

and, 32.

e is happy an

e is more tec

his piece incl

frequent mo

arallel motio

63b). These

ally quieter t

propriate fing

17-119. Thes

la rhythms a

those section

otes, and the

b). Masterin

ult

Alice in Won

nd humorou

chnically diff

lude an unus

ood changes

ons in both h

sections sou

than the righ

gerings and s

se might be

and shifting p

ns: the left ha

right hand s

ng this piece

nderland, no

us. As Kinosh

fficult than th

sual time sig

, and abrupt

ands, such a

und better if

ht.

smooth arm

especially d

positions in b

and should u

should use c

will certainl

.7, m. 26

hita indicate

he earlier six

gnature (9/8)

leaping cho

as m.26 and

f the left hand

motions are

difficult for y

both hands.

use fixed

lose position

ly open the d

87

es in

x

,

ords.

d

e

young

I

ned

door

E

8

m

h

(E

th

E

27

Example 3.63

. The Quee

The tw

march and he

er appearanc

Example 3.6

hat the perfo

Example 3.64

Kinoshita, Ali

3b: Makiko

en’s Croque

wo sections i

er croquet ga

ce and her ac

64) while her

rmer should

4: Makiko K

ice in Wonderla

Kinoshita, A

et-Ground [C

in this piece

ame. The Qu

ctual march.

r march is de

d play those c

Kinoshita, Al

and, 42.

Alice in Won

CD 2-8]

describe the

ueen’s march

The fanfare

epicted by ch

chords with

lice in Wond

nderland, no

e two events

h has two the

e theme imit

hords in both

dignity.27

derland, no.8

o.7, mm. 104

s of the story

ematic ideas

ates a trump

h hands. Kin

8, mm. 1-7

4-105

y, the Queen

: a fanfare fo

pet sound

noshita indic

88

n’s

or

cates

W

g

th

C

E

E

When the Qu

ame is conv

he left (Exam

Cat” also app

Example 3.65

Example 3.66

ueen and her

eyed by chro

mple 3.65). T

pear in this m

5: Makiko K

6: Makiko K

servants pla

omatic scale

The themes f

movement (E

Kinoshita, Al

Kinoshita, Al

ay a croquet

es in the righ

from “Alice

Example 3.66

lice in Wond

lice in Wond

game, the m

ht hand and b

in the Golde

6).

derland, no.8

derland, no.8

motion of a cr

bouncing lea

en Afternoon

8, mm. 89-92

8, mm. 76-77

roquet ball i

aping chords

n” and “Che

2

7

89

in the

s in

eshire

90

The form of this piece is rather hard to define and could be quasi rondo form or

ABA’ form (See Table 3.5). There are double bars between mm. 41 and 42 and between

mm. 88 and 89, dividing the Queen’s croquet game from her march. The opening and

ending of this piece is symmetrical; it begins with fanfare and march and ends with

march and fanfare. Within the piece fanfare is used to introduce the croquet game.

Table 3.5: Form of “The Queen’s Croquet-Ground”

Mm. 1 6 25 35 42 68 76 80 84 88 101 110 Themes F Q Q +

Alice F C Cat + Q Alice

+ Cat Q F C (C) + Q F

Rondo form

A B C A’ B’ A’’ (coda)

Large-scale ternary

A (Queen’s fanfare and march)

B (Croquet game with other characters ) A’ (Queen’s fanfare and march)

*Double lines indicate that the score has double bars to divide sections. F = fanfare Q = Queen’s march C = croquet game Alice = Alice’s theme Cat = Cheshire Cat’s theme

The technical focuses in this piece are playing triplets and duplets at the same

time (two against three), open fifths and triadic chords, and chromatic scales. The

Queen’s croquet section is especially difficult because of its fast chromatic scales. There

are also many contrasting musical ideas and these create several musical challenges.

Contrasting tone colors must be used for the trumpet like fanfare, the bouncing croquet

ball, and the grand dignified march, as well as Alice’s and the Cheshire Cat’s returning

themes.

Level of Difficulty: Medium difficult

91

9. The Trial in a Muddle [CD 2-9]

This piece acts as grand finale for the set and includes much of the main thematic

material from the earlier pieces. The themes that recur the most are the Queen’s march

and fanfare, indicating her dominance over the trial. The Table 3.6 below shows the

appearances of the themes.

Table 3.6: Form of “The Trial in a Muddle”

Mm. Themes Keys 1 Queen E

19 Mad tea- party F

65 Queen E

74 Rabbit + Alice C

90 Queen + Alice Whole-tone 99 Caterpillar Gm

110 Dodo + Alice F

124 Queen E

130 Alice Whole-tone

134 Queen E

*Double lines indicate that the score has double bars to divide sections.

Like the title suggests, the reappearance of earlier themes seem to muddle this piece.

Each theme is slightly varied in rhythm and grows more complex with the addition of

notes. For example, here the left hand of the Rabbit’s theme has A-flat and E-flat major

chords on the fourth beat; before it only used C major chords (Examples 3.67 and 3.48).

These variances create many shifts in color but also increase the technical difficulty of

the work.

As Kinoshita states in the score, the form of this piece is a quasi-rondo. The first

section in mm.1-18, which includes the Queen’s march, and the second section in

m

co

an

(s

or

E

3

qu

te

as

fr

p

p

L

28

mm.19-64, w

ompared to t

nd C section

see Table 3.4

riginal form

Example 3.67

One o

.65). In mm.

uotes the wh

ears (Examp

s opposed to

rom the Que

This p

iece should b

ieces.28

Level of Diff

Kinoshita, Ali

which draws f

the other sec

ns as well as

4). In mm. 7

it had a bro

7: Makiko K

of Alice’s the

.90-98 the Q

hole-tone, sw

le 3.68). The

o its original

en’s croquet

piece is the m

be learned a

ficulty: Med

ice in Wonderla

from “A Ma

ctions. The m

transitory m

4-89 the Rab

ken chord ac

Kinoshita, Al

emes also ap

Queen’s them

wirling gestu

e “Caterpilla

3/4 time. In

t game in the

most difficul

as a review p

dium difficu

and, 50.

ad Tea-Party

mad tea-party

materials, suc

bbit’s theme

ccompanime

lice in Wond

ppears at the

me comes bac

ure in the left

ar” section, f

n mm.140-14

e left hand to

lt in the set. K

piece for the

ult

y Never Ends

y section inc

ch as extende

e has a tremo

ent (Exampl

derland, no.9

end of this “

ck in the rig

ft hand that r

following at

43, Kinoshita

o end the pie

Kinoshita m

performer w

s,” are relativ

cludes theme

ed transition

olo accompa

e 3.67).

9, mm. 74-75

“Rabbit” sec

ght hand and

represented A

m. 99, appe

a uses a long

ece (Exampl

mentions on t

who has stud

vely long

es from it’s A

n and interru

animent; in it

5

ction (Examp

Kinoshita

Alice’s pool

ears in 4/4 tim

g chromatic

le 3.69).

the score tha

died all the ea

92

A

uption

ts

ple

of

me

scale

at this

arlier

E

E

Example 3.68

Example 3.69

8: Makiko K

9: Makiko K

Kinoshita, Al

Kinoshita, Al

lice in Wond

lice in Wond

derland, no.9

derland, no.9

9, mm. 88-96

9, mm. 140-

6

143

93

1

A

w

A

m

ch

E

m

si

g

ac

th

0. After the

This p

Afternoon.” A

was a dream.

“After

Afternoon.”

musical chara

hords in this

Example 3.70

The m

more colorful

imple triadic

ive this harm

ccompanime

he B section,

e Dream [C

piece is an ar

Alice wakes

Still sleepy,

r the Dream”

A short intro

acters with a

s long tremol

0: Makiko K

melody is alm

l harmonies.

c chords suff

monization o

ental pattern

, Kinoshita u

D 2-10]

rrangement o

up under the

, she enjoys

” retains the

oduction in m

a long tremol

lo section w

Kinoshita, Al

most the sam

Kinoshita u

ficed in the f

of the melody

ns, using a wi

uses opposite

of the first p

e tree and re

the afterglow

same key an

mm. 1-9, how

lo line (Exam

ith parallel v

lice in Wond

me as the first

uses extende

first piece of

y a jazz-like

ider range o

e dynamics t

piece of the s

ealizes that h

w of her dre

nd ABA form

wever, depic

mple 3.70). K

voice-leadin

derland, no.1

t piece; but h

d tertian cho

f the set. Tho

e quality. The

f the keyboa

to the first p

set, “Alice in

her adventure

am.

mat as “Alic

cts dreamy a

Kinoshita us

g.

10, mm. 1-9

here it is acc

ords in this p

ose extended

e left hand p

ard than the o

piece, markin

n the Golden

e in Wonder

ce in the Gol

and obscure

ses whole-to

companied b

piece wherea

d tertian chor

plays broken

other pieces

ng the music

94

n

rland

lden

one

by

as

rds

n

. In

c p

95

instead of mf. She also adds a few extra measures at mm. 42-43 and mm. 62-65.

Fingerings should be carefully considered in order to play the left hand smoothly and not

accented.

Level of Difficulty: Intermediate

Summary

While this programmatic suite is meant for children, it would give pianists of all

ages ample opportunities to develop technique and musicality. In particular, students

could work on percussive playing, passages in thirds, chords, staccato and legato

articulations, chromatic scales, trills, tremolos, grace notes, and polyrhythms (see Table

3.7). Furthermore, pieces in a fast tempo will develop finger dexterity and pieces with

chords will develop arm and hand support.

By studying the whole set, students can learn a significant amount about musical

structure and form. For example, nos. 1 and 10 are symmetrical and unify the set. Each

character of the story has its own musical theme and when these themes reappear in other

pieces they are usually varied and embellished.

Table 3.7: Summary of Technical Focuses in Alice in Wonderland

Percussive playing nos.2, 4, 7, and 9 Passages in thirds nos.3, 4, 5, 6, 7, 8, and 9 Chords nos.7, 8, and 9 Staccato articulations nos.4, 5, 7, 8, and 9 Legato articulations nos.1, 3, and 10 Chromatic scales nos.2, 4, 5, 6, 7, 8 and 9 Trills nos.3, 4, 5, 6, and 9 Tremolos nos.2, 5, 9, and 10 Grace notes nos.3, 5, 7, 8, and 9 Polyrhythm nos.5, 8, and 9

96

Yet while this suite offers so many opportunities for developing and improving

pianism, it might be technically challenging for young pianists. Michiko Asai, the first

pianist to record the whole set, asserted that it is impossible for children to play these

pieces well.29 One of the reasons why this set may be more difficult is because there are

no fingering markings in the score. In fact, Kinoshita has never put any fingering

markings in her piano music. For her, fingerings have never caused problems and she

never thought that giving fingering markings would be helpful for developing pianists.

After receiving feedback from several colleagues, Kinoshita did agree that the set was

difficult and suggested that perhaps it was better suited for children to listen to than to

play.30 Although this may make the entire set less accessible for younger and less

experienced students, these students could easily learn specific pieces of the set. As

students grow older and gain more musical skills, the set as a whole may become more

appropriate.

Alice in Wonderland, Overall Level of Difficulty: Easy – Medium difficult

29 Alice in Wonderland, Victor Entertainment VICS-61218, CD, 1999. 30 Kinoshita, interview answers to author, February 1, 2011.

97

Works for Children

Kinoshita has composed several independent short pieces specifically for children

to play.31 Many of these pieces have lively and imaginative names, including Hop, hop

and Song Sung by a Dog Looking at its own Tail, which stimulate interest by relating the

music to a child’s everyday life. These pieces are stylistically much simpler than those in

Alice in Wonderland, often following ternary (ABA’) form. The keys are usually simple,

such as C, F, G, and D major, but Kinoshita adds sophisticated harmonic colors by

inserting accidentals in many places. Only Children’s Song in Africa is completely

diatonic.

Hop, hop (1988) [CD 2-11]

This piece was first published in The Collection of Piano Pieces by Composers

for Children: Message 7 in 1988 and again in Carnival: Piano Solo Album for Recitals in

1997.32 In the score Kinoshita suggests playing this piece with joy by imagining a little,

naughty bunny hopping and playing.

The piece is in the happy key of C major and is filled with staccato articulations

and syncopations. Accents are usually placed on weaker beats in cut time (Example

3.71). Trills (m. 3), chromatic scales (m. 4), and grace notes (m. 40) provide additional

technical challenges for the young performer. Linear chromatic bass motion in mm.17-25

31 These pieces were published by Edition KAWAI separately in The Collection of Piano Pieces by Composers for Children. Today this series is difficult to find, however some individual copies can be obtained from the online music store Edition KAWAI ONLINE. “Edition KAWAI ONLINE,” accessed January 5, 2011, http://editionkawai.jp/. 32 発表会ピアノ曲集カーニバル (Happyo-kai Piano kyokushu: Carnival) [Carnival: Piano Solo Album for Recitals] is published by Edition KAWAI. The book is one of three books that Edition KAWAI chose suitable repertoire for a recital among pieces that had been published in The Collection of Piano Pieces by Composers for Children in the series 1-10.

(E

a

L

E

E

Example 3.7

simpler sett

Level of Diff

Example 3.71

Example 3.72

72) also serve

ting: we saw

ficulty: Easy

1: Makiko K

2: Makiko K

es as an exam

w this techniq

y

Kinoshita, Ho

Kinoshita, Ho

mple of a mo

que prior in 9

Hop, hop, mm

Hop, hop, mm

ore advance

9 Preludes.

m. 1-4

m. 16-25

d compositioonal techniq

98

que in

T

Y

to

v

pu

co

re

m

L

E

33

34

of35

is

The Lion wit

For th

Yanase (b. 19

o make a pre

olume The C

ublication, a

ommemorat

The p

eminiscent o

many places p

Level of Diff

Example 3.73

Takashi Yana Makiko Kinosf Composers (T This left hand known from S

th the GI ha

his piece Kin

919).33 The p

esent for his

Collection of

anonymous m

ion of its 20

iece focuses

of Latin musi

present the m

ficulty: Easy

3: Makiko K

ase, Aisuru Utashita, “The LioTokyo: Editiond rhythmic pattSpain because o

aircut (1989

noshita was i

poem describ

beloved. Th

f Piano Piec

musicians ch

th anniversar

s on rhythms

ic35 (Examp

melody in pa

y

Kinoshita, Th

a [Love songs] on with the GI n KAWAI, 199ern is based onof Bizet’s Carm

9) [CD 2-12]

inspired by a

bes a kind lio

his piece was

ces by Compo

hose their fav

ry.

s: the left han

le 3.73). The

arallel thirds

he Lion with

(Tokyo: Sanrihaircut.” in Th

94). n habanera rhytmen.

]

a poem of th

on who has

s republished

osers for Ch

vorite pieces

nd has rhyth

e G major m

s, much like

h the GI hair

o-sha, 1977). he Lion with the

thm which is o

he same title

his mane cu

d in 1994 in

hildren.34 Fo

s from the se

hmic patterns

melody is qui

a song in tw

rcut, mm. 1-3

e GI haircut, e

originally from

by Takashi

ut short in ord

the omnibus

r this

eries in

s that are

ite catchy an

wo voices.

3

ed. Japan Feder

m Cuba. Howev

99

der

s

nd

ration

ver it

S

C

ch

p

d

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st

T

p

T

L

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ong Sung b

This p

Children by 4

horal work w

iano piece.

The ti

escribes a do

when he is sa

taccato artic

The p

Technical issu

arallel and m

Tea-Party Ne

Level of Diff

Example 3.74

y a Dog Loo

piece was pu

44 Composer

with the sam

itle of this pi

og that wond

ad. In the mu

culations crea

iece starts in

ues include l

mirror motio

ever Ends” fr

ficulty: Easy

4: Makiko K

oking at its

ublished in T

rs for Childr

me title in 199

iece comes f

ders why its

usic only the

ate the imag

n C major an

learning to p

ns in both ha

rom Alice in

y

Kinoshita, So

own Tail (1

The Collectio

ren: Animal

95; however

from another

tail waggles

dog’s wagg

ge of a happy

nd modulates

play triplets

ands (mm.12

Wonderland

ong Sung by

1990) [CD 2

on of Piano P

Chapter 1. K

r that music d

r poem by T

s when he is

gling tail is d

y puppy (Exa

s to A-flat m

and grace no

2 and 16), w

d.

a Dog Look

2-13]

Pieces by Co

Kinoshita al

does not rela

akashi Yana

happy and h

depicted: gra

ample 3.74)

major in the B

otes. There a

which are sim

king at its ow

omposers for

so composed

ate to this so

ase. This poe

hangs down

ace notes and

.

B section in

are sections w

milar to “A M

wn Tail, mm

100

r

d a

olo

em

d

m. 9.

with

Mad

. 1-4

C

In

m

in

ea

fr

an

L

E

S

C

36

st

Children’s S

This p

n fact, the m

may be tricky

nstructs the p

arth of Afric

rom mf to f.

nd playing in

Level of Diff

Example 3.75

Soft Bavaria

This p

Children: The

Kinoshita, int

trong impressio

Song of Afric

piece is influ

main technica

y until the pe

performer to

ca. The key i

This piece i

n irregular m

ficulty: Easy

5: Makiko K

an Creme (1

piece was pu

e Piano Rest

erview answeron that East Af

ca (1991) [C

uenced by Ea

al focus is rhy

erformer gets

o play rhythm

is G major, w

is useful for

meters.

y

Kinoshita, Ch

1994) [CD 2

ublished in T

taurant. Wh

rs to author, Fefrican music le

CD 2-14]

ast African f

ythm. The c

s used to the

mically and v

with no adde

learning syn

hildren’s So

2-15]

The Collectio

hen Kinoshita

ebruary 1, 2011ft on her after

folk music an

constant alter

e patterns (E

vigorously a

ed accidental

ncopations, a

ng of Africa

on of Piano P

a was a child

1. Kinoshita wrshe first heard

nd contains

rnation of 5/

Example 3.75

and to imagin

ls, and the d

accents, play

a, mm. 1-4

Pieces by 42

d, Bavarian c

rote this piece it from a CD.

shifting met

/8 and 2/4 tim

5). Kinoshita

ne the broad

dynamics ran

ying in thirds

2 Composers

creme was h

because of the

101

ters.36

me

a

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her

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avorite snack

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This h

hords in the

imilar to Pre

ccasionally t

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Kinos

erformer als

mm.23-26 (E

Because this p

earn before P

Level of Diff

Example 3.76

Makiko Kinos

Children: The PIbid.

k. She comp

homophonic

left hand. Th

elude 6 in 9 P

taken by the

ample 3.76).

shita instruct

so needs to p

Example 3.77

piece contai

Preludes 4 an

ficulty: Easy

6: Makiko K

shita, “Soft Ba

Piano Restaura

osed this par

piece focuse

he left hand

Preludes. Th

e left. An imi

ts the perform

play smoothl

7). The audie

ns dotted rhy

nd 6 from 9

y

Kinoshita, Sof

avarian Cream.ant, ed. Japan F

rticular mus

es on lyrical

rolled chord

he melodic li

itative sectio

mer to play t

y when a cro

ence should

ythms and ro

Preludes (E

ft Bavarian

” in The CollecFederation of C

sic with mem

l playing in t

ds use smoot

ines are usua

on in mm.13

the melody l

oss-melody

not hear wh

olled chords

Example 3.78

Creme, mm

ction of Piano Composers (Tok

mories of tha

the right han

th voice-lead

ally in the ri

3-16 has the l

like it is bein

occurs betw

hen the hand

s it may be a

8).

m. 12-16

Pieces by 42 Ckyo: KAWAI,

at delicious

nd over rolle

ding, which

ght hand but

left hand ech

ng sung.38 Th

ween hands in

switches.

a good exerci

Composers for 1994-5), 6.

102

ed

is

t are

ho

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n

ise to

E

E

A

P

K

p

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39

C

Example 3.77

Example 3.78

A Memorabl

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Piano Pieces

Kinoshita’s e

ie because it

Soft Bavarian

exture, howe

Makiko Kinos

Children: Desse

7: Makiko K

8: Makiko K

le Lemon Pi

piece was co

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xperience ba

t was easy to

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ever, is differ

shita, “A Memert 1, ed. Japan

Kinoshita, So

Kinoshita, Sof

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rent. In this

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CD 2-16]

1995 and pub

dren: The De

on pie when

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6/8 time sign

piece the me

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Creme, mm

Creme, mm

blished in 19

essert 1. The

she was in h

39 The style

nature and lyr

elodic lines a

Collection of PiTokyo: KAWA

m. 20-27

m. 8-11

996 in The C

e title comes

high school.

of this piece

rical singing

appear in bo

iano Pieces by AI, 1996).

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s from

She liked le

e is similar to

g character. T

oth hands; a

Composers fo

103

f

emon

o

The

or

si

m

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W

P

h

3

b

P

p

L

ingle hand c

minor, the pie

Overall Leve

Example 3.79

WakuWaku

The co

Preludes. For

ave the same

.80a and 3.8

e seen in Pre

relude 5 (Ex

iece for port

Level of Diff

an also play

ece ends wit

el of Difficu

9: Makiko K

[Exciting] (

ompositiona

r example, m

e rhythmic m

80b). The fas

eludes 3 and

xamples 3.81

tions of 9 Pr

ficulty: Inter

more than o

th a Picardy t

lty: Easy

Kinoshita, A

(2000) [CD 2

al style of thi

mm.16-18 of

motives in th

st parallel six

d 5. Hemiola

1a and 3.81b

reludes.

rmediate

one melody (

third (an A m

Memorable

2-17]

is piece is qu

f this piece re

he right hand

xteenth-note

rhythms in

b). Thus, this

(Example 3.

major triad).

Lemon Pie,

uite similar t

esembles mm

d and paralle

e figuration a

6/8 time in m

s piece woul

.79). While t

.

mm. 17-20

to Preludes 3

m.16-17 in P

el fifths in th

an octave ap

m.25 is simi

ld be a good

the key is in

3, 5, and 7 in

Prelude 7. Bo

he left (Exam

art in m.18 c

ilar to m.21 i

preparation

104

A

n 9

oth

mples

can

in

E

E

E

E

Example 3.80

Example 3.80

Example 3.81

Example 3.81

0a: Makiko K

0b: Makiko K

1a: Makiko

1b: Makiko

Kinoshita, W

Kinoshita, 9

Kinoshita, W

Kinoshita, 9

Waku Waku [

Preludes, P

©

Waku Waku [

9 Preludes, P

©

[Exciting], m

Prelude 7, mm

©2001 by ONGAK

[Exciting], m

Prelude 5, m

©2001 by ONGAK

mm. 16-18

m. 16-18

KU NO TOMO SH

m. 25

m. 21

KU NO TOMO SH

HA CORP., Tokyo

HA CORP., Tokyo

105

o, Japan.

o, Japan.

U

aw

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d

ph

A

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m

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M

ex

w

Uto Uto [Doz

Like t

wake and no

hromaticism

escribe yawn

hrase of dott

The u

Alice in Wond

imilar music

moving slowl

Level of Diff

Example 3.82

Moa (2006) [

The m

xtinct a few

when they str

zing] (2003)

the title of th

ot fall asleep

m and dotted

ning. Finger

ted rhythms

se of dotted

derland (Exa

cal character

ly and lazily

ficulty: Easy

2: Makiko K

[CD 2-19]

moa is a fligh

hundreds ye

retched their

) [CD 2-18]

he piece, the

. To convey

rhythms. In

rings should

with legato

rhythms and

amples 3.82

s: in “Chesh

y.

y

Kinoshita, U

htless bird th

ears ago. Som

r necks. They

music descr

y this sense o

particular, t

be carefully

articulations

d chromatici

and 3.58). T

hire Cat” the

Uto Uto, mm.

hat used to liv

me moa reac

y also had bi

ribes when o

of drowsines

the left hand

y considered

s.

ism is also fo

This piece an

music descr

1-3

ve in New Z

ched about 4

ig, strong leg

one is trying

s Kinoshita

d’s chromatic

in order to p

found in “Ch

nd Uto Uto s

ribes the fat,

Zealand befo

4 meters (12

gs instead of

hard to stay

used

cism seems t

play a long

heshire Cat”

seem to have

, lazy, weird

ore it became

ft) in height

f wings for

106

y

to

from

e

d cat

e

t

ru

w

A

M

W

an

m

E

unning on th

walking with

The fo

A minor and

Material in th

Wonderland (

nd “The Tria

meter.

Example 3.83

he ground. K

a magnifice

orm is ternar

the B section

he A section

(Examples 3

al in a Mudd

3a: Makiko K

Kinoshita’s m

ent step.

ry with contr

n is in A maj

also resemb

3.83a, 3.83b,

dle,” Kinoshi

Kinoshita, M

music describ

rasting A an

ajor; the A se

bles the Quee

, and 3.83c).

ita uses para

Moa, mm. 1-8

bes both this

nd B sections

ection is slow

en’s theme (

Like “The Q

allel fifths in

8

running and

s. The outer

w while the

(march them

Queen’s Cro

n the left han

d the huge m

A sections a

B section is

me) from Alic

oquet-Groun

nd with a 4/4

107

moa

are in

fast.

ce in

nd”

4

E

E

A

B

a

(m

ch

p

m

L

Example 3.83

Example 3.83

Towar

At the same t

B section, wh

minute (m.1

m 40) the tem

Techn

hanges it sho

assages in th

more complic

Level of Diff

3b: Makiko K

3c: Makiko K

rd the end of

ime the rhyt

hen the moa

13) to quarte

mpo returns

nical focuses

ould be smo

hirds, and ch

cated than K

ficulty: Inter

Kinoshita, A

Kinoshita, A

f the first A

thmic duratio

are running,

er-note at 13

to its origin

s in this piec

oth instead o

horal-texture

Kinoshita’s ea

rmediate

Alice in Wond

lice in Wond

section, ther

on in the left

, the tempo i

8 beats a mi

al majestic p

e are legato

of rushed or

writing, this

arlier pieces

derland, no.

derland, no.9

re is an acce

ft hand intens

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108

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mm. 10-11

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110

111

Summary

After composing several piano pieces for children, Kinoshita realized her

difficulty and frustration with composing simpler music for children. She felt restricted

because she could not use complicated chords or textures. Pieces must be short and

technically simple.40 In fact, she often spent a long time composing a children’s piece

because she found the limited compositional techniques quite constricting.

Yet, like her advanced works, Kinoshita’s works for children include

sophisticated harmonies and rhythms. They also draw heavily upon popular culture in

order to connect with younger students. For example, titles include animal names,

feelings, children’s favorite foods, and actions, which relate to children’s everyday life.

Each work also has a title and a short description of the piece by the composer. Many

scores are further accompanied by pictures.41 These titles, descriptions and pictures help

inspire children’s imaginations and make it easier for children to connect their emotions

to musical sound. These pieces will certainly prepare the young student for Kinoshita’s

more advanced repertoire, including Alice in Wonderland, 9 Preludes, and A Circuit of

Dreams.

40 Kinoshita, interview answers to author on February 1, 2011. 41 All the scores except a few that were obtained directly from Kinoshita have pictures and descriptions on the score. Those pictures were added by Edition KAWAI in the process of publication. Kinoshita, as well as other composers working with Edition KAWAI, did not have any say in the illustrations.

112

Table 3.8: Summary of Technical Focuses in Works for Children

Focuses\ nos. 1 2 3 4 5 6 7 8 9 10 Rhythmic X X X X X Lyricism X X X Staccato X X X X X X X Legato X X X X X Syncopations X X X X Accents X X X X Grace notes X X X Parallel motion

X X X

Mirror motion

X

Rolled chords

X

Hemiola X X Counterpoint X X Shifting meters

X X

Passages in thirds

X X X X X X

Chords X X X X Dotted rhythm

X

Triplets X Chromatic scales

X

Trills X X 1: Hop, hop 6: A Memorable Lemon Pie 2: The Lion with the GI haircut 7: Waku Waku 3: Song Sung by a Dog Looking at its own Tail 8: Uto Uto 4: Children’s Song of Africa 9: Moa 5: Soft Bavarian Cream 10: E q. quagga

113

Mother Goose

Kinoshita was commissioned by Edition KAWAI to write this work. The score is

included in a picture book, Mother Goose, which was published in 1991.42 The book

includes texts and pictures of sixteen songs and is illustrated by Naomi Tsuda (b. 1960).43

However, as Edition KAWAI commissioned Tsuda and Kinoshita separately, the artists

did not have a chance to work together on the project. This book is out-of-print today

and is only available at auction.

The work is a suite that includes fifteen arrangements of nursery songs for piano.

While the front cover has titles in both Japanese and English, the lyrics for the nursery

songs are in English. Kinoshita has revealed that arranging pre-existing songs is not her

favorite style of composition, but she has also acknowledged that arranging can be fun

and allows a certain amount of freedom.44 This might be the reason this suite is the only

arrangement among her piano compositions.

On the whole, the music remains relatively faithful to the original tunes.

Sometimes Kinoshita varies the tune by using counterpoint, adding new harmonies, or

providing an introduction. Most of the pieces are relatively easy; only the last three

pieces become more difficult.45 Most of the pieces are in a major key and sound playful,

but a few do focus on lyrical playing. Additional technical challenges include octave

playing, thick chords, big leaps, broken chord accompaniments in a wide range of the

keyboard, and fast sixteenth-note passages.

42 Makiko Kinoshita, Mother Goose (Tokyo: Edition KAWAI, 1991). The book was published along with a mini-CD. 43 “There was an Old Woman” which does not have a score, is inserted between “Hey Diddle Diddle” and “Who killed Cock Robin?” 44 Kinoshita, interview answers to author on February 1, 2011. 45 These difficulties arise primarily from the pieces’ complex texture.

114

According to Kinoshita, this set is for children to listen to rather than to play.46

Yet many pieces have simple, imaginative writing that is suitable for young students. The

following paragraphs briefly summarize the character of each piece and indicate the

primary pianistic techniques.

1. Three Blind Mice [CD 2-21]

This piece is faithful to the original tune and presents the melody in E major.

There are two contrasting types of figurations in this piece: blocked chords and a melody

in playful rhythms. The motive “three blind mice” is always played in blocked chords. In

mm. 13-16 the motive is played by a canon in both hands. This would be a fairly

accessible piece for a late beginner with a hand capable of playing a four-note chord with

an octave outline.

Level of Difficulty: Easy

2. Mrs. Bond [CD 2-22]

This piece is also faithful to the original tune. The key is C major, and the music

utilizes a small range and transparent texture through which to portray a character that is

at once flowing and innocent. Although syncopated rhythms in the left hand spice up the

homophonic texture, this piece is technically the easiest in the set. It is a delightful and

charming work that is quite suitable for a young pianist who has an octave stretch.


46 Kinoshita, interview answers to author, February 1, 2011.

115

3. Old King Cole [CD 2-23]

This piece in F minor has an introduction in mm. 1-4, foreshadowing alterations

of the original tune. The melody is lyrical and accompanied by a counter melody. When

repeated a second time, the melody is slightly varied and played in a higher register. The

left hand has triadic, rolled chords, which contribute to an overall thicker texture in

comparison to the first two pieces. On the whole, “Old King Cole” is a good exercise in

lyricism. Aspects of contrapuntal writing present a challenge to the developing pianist.


4. The Cuckoo [CD 2-24]

Like “Old King Cole,” “The Cuckoo” also has an introduction in mm. 1-4. This

simple, cheerful tune is accompanied by staccato octaves in the left hand. These octaves

may prove difficult for young students who have small hands. Echo effects in mm. 19-21

require contrasting dynamics between the hands, which involves the technique of

crossing arms.


5. Pussy Cat [CD 2-25]

This piece presents the original tune in F major with a short introduction in mm.

1-2. Technical focuses include grace notes and chords with staccato articulations. The

left hand usually has a waltz-like accompaniment, but this changes in mm. 12-15: here

the left hand plays a cute, bouncy tune and the right hand plays chords off the beat. It is

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the first time in this set that the left hand has a distinct melody. This piece will help

students learn to control a melody that alternates between the hands.


6. On Christmas Day [CD 2-26]

This lyrical piece is in A minor but ends with a Picardy third. Kinoshita

introduces the original tune, but weaves in new counter melodies, creating a more

complex contrapuntal texture. The accompaniment in the left hand along with rolled

chords in the right hand require a larger, more flexible hand. This piece provides students

with the opportunity to improve their smooth and expressive playing. The melody in

parallel thirds also recalls selections from Kinoshita’s original compositions Alice in

Wonderland and E.q.quagga.


7. Jack and Jill [CD 2-27]

This is a very playful, short piece. Kinoshita preserves the original tune in C

major. Technical focuses include grace notes, trills, and swing rhythms. The trickiest

section is in mm. 9-12, as the left hand crosses over the right hand. Here it is easy for a

young student to miss notes: it is as if the pianist becomes like Jack trying to balance his

bucket of water. Try not to spill your notes!


117

8. Goosey, Goosey Gander [CD 2-28]

This is also a playful piece. The original tune is usually in the right hand,

accompanied by a rhythmic left hand. Like “Pussy Cat”, the left hand takes the melody in

mm. 13-16. A short counter melody in the left hand follows in mm. 17-18. Technical

focuses include grace notes and chords with staccato articulations. Accents on weaker

beats and rests on downbeats add a surprising punch, musically depicting the comical

motion of a gander walking, waggling, and gaggling through the grass.


9. Rock-a-bye, Baby [CD 2-29]

In this piece lyrical melodies are taken equally by both hands. Occasionally, two

contrasting melodies are also played by one hand. In mm. 18-20 the melody is played in

octaves. Smooth arm motion is required to play long, melodic phrases seamlessly.

Successive rolled chords in the right hand in mm.13-18 should be played smoothly, and

require careful attention in regard to arm gesture as well. When playing these chords, the

longer phrase and forward direction of the musical gesture is of paramount importance.


10. Humpty Dumpty [CD 2-30]

This piece has an extensive introduction in mm. 1-8, which includes a canon

between the hands. Kinoshita is faithful to the original tune “Humpty Dumpty,” but

singing this tune before playing the piece may help performers shape the end of the

phrase more naturally. It is easy to cut off the end of a phrase if one does not know the

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song well. Like “Jack and Jill,” this piece also uses swing rhythms and its charming

ending is similar to the ending of “Cheshire Cat” in Alice in Wonderland.


11. Saint Paul’s Steeple [CD 2-31]

In this piece the left hand imitates a bell sound of a cathedral by octave playing.

The right hand plays a melody in successive sixths and first inversion chords throughout

the piece. The music should sound magnificent. Make sure arm gestures are smooth and

try to create long phrases as in “Rock-a-bye, Baby.” The notes are not hard to learn and

can provide a good vehicle for playing with full arm weight in the keys. It may be

technically challenging for younger students to control arm weight efficiently.


12. Hey Diddle Diddle [CD 2-32]

Like “Humpty Dumpty,” the introduction of “Hey Diddle Diddle” includes a

canon (mm. 1-4). The playful tune is supported by rhythmic accompaniment. The left

hand also takes a turn with the melody in mm. 16-22. Repetitive notes with staccato

articulations may prove tricky for the less advanced pianist, but they help create the

overall mood for this happy and charming work.


119

13. Who Killed Cock Robin? [CD 2-33]

This piece is more complex and double the length compared to earlier works in

this set. Chorale-like textures and counterpoint are used throughout the piece, presenting

the tune in various guises and patterns. Both the melody and counter melodies are often

played simultaneously, and the performer faces challenges in balancing the texture.

Emphasizing different voices can provide interesting contrasts within a performance.

Other technical focuses include octave playing, thick chords, and large leaps.


14. London Bridge [CD 2-34]

The opening has a four-voice canon which is tricky because of its combination of

duple and dotted rhythmic patterns. While the tune of this piece is straight forward,

Kinoshita’s exploration of key changes and rhythms add much to this well known tune.

Four sections are indicated by different key areas. The piece begins in D major,

modulates to E-flat major and E major, and then ends in B-flat major. In the first section

(D major) the music is playful with staccato articulations in a chorale texture. The second

section (E-flat major) has a lyrical quality. The melody is played in the middle voice in

mm. 17-20. The accompaniment in this section is in a broken chord accompaniment and

uses a wide range of the keyboard. The third section (E major) focuses on syncopated

rhythms. Here the original tune is rhythmically varied and melodically reshaped with

octave transfers moving the theme through different layers of the texture. The final

section (B-flat major) starts lyrically in a slower, meno mosso tempo. Here the left hand

plays bell-like chords in which the tenor voice forms a counter melody. The music

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becomes more exciting with an a tempo marking and fortissimo dynamic. Technical

challenges include octave playing, thick chords, and large leaps.


15. Twinkle, Twinkle Little Star [CD 2-35]

This last piece of the set is the most difficult. While Kinoshita faithfully uses the tune

of the original song, she couches it amongst many technical challenges. Twinkling stars

are depicted by trills in a high register. Tremolos and broken-chord accompaniments are

used in a wide range of the keyboard. Fast sixteenth-note passages are used throughout

the piece, often under a melody in octaves or thick chords. The closing section modulates

often and ends in C major, the dominant of the home key of F major. The last chord

featuring a tritone (F and B) is exotic and unresolved, and floats the figuration into the

upper register with a diminuendo to pianissimo. This brings the whole set to an ethereal

conclusion.

Level of Difficulty: Early advanced

Summary

While the set is technically less demanding than Alice in Wonderland, it still

exploits the instrument’s potential for color. Kinoshita’s imaginative settings of these

well known tunes make this collection an attractive one for the developing pianist. While

young students will especially enjoy practicing the easier pieces, teachers must be careful

that a student’s hand will be able to reach all of the larger stretches comfortably. The last

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three pieces are more complex musically and technically, and therefore should be

reserved for more advanced pianists.

Mother Goose, Overall Level of Difficulty: Easy – Early Advanced

Table 3.9: Summary of Technical Focuses in Mother Goose

Focuses\ nos. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Rhythmic X X X X X X Lyricism X X X X X Staccato X X X X X X X X Legato X X X X X X X X X X Syncopations X X X X Accents X X X X X X X X Grace notes X X X Parallel motion

X

Mirror motion

X

Rolled chords X X X X X X Hemiola Counterpoint X X X X X X X X X Passages in thirds

X X X X X

Chords X X X X X X X X X X X X X Dotted rhythm

X X

Chromatic scales

X

Trills X X X Octaves X X X X X X X X Cross hands X X Tremolos X

CHAPTER 4

CONCLUDING REMARKS

A Summary of Kinoshita’s Piano Music

Evident from Makiko Kinoshita’s piano works is her unique musical language,

which she creates by mixing elements of traditional western classical music and popular

genres, including pop, jazz, and rock. This novel combination of sounds, plus her

personal trademarks (extended tremolos, long trills, gliding fifths and cluster chords) and

a playful sense of humor, have become characteristics marking her music as new and

innovative.

As we can infer by looking at all of Kinoshita’s solo piano works, Kinoshita

composes in three distinct styles: the first style highlights a lyrical melody supported by

colorful harmonies; the second features a colorful soundscape without a clear melody;

and the third is rhythmically marked with an emphasis on syncopation and accents.1

Harmonic progressions in Kinoshita’s music usually function as color changes,

underscoring her concern with sound. She chooses harmonies that she wants to hear as

opposed to harmonies that follow a functional pattern.2 The performer can also enhance

Kinoshita’s colors by exploring different ways to use the pedal.

1 Kinoshita revealed that while her bold rhythms in her piano music resemble Prokofiev and Stravinsky, they come more from her love of percussion ensembles. Kinoshita, interview answers to author on February 1, 2011. 2 Kinoshita, interview answers to author on February 1, 2011.

123

Kinoshita’s music lacks detailed notations, such as pedaling, and this allows the

performer freedom in pedaling and phrasing. Each performer can create an individual

sound and each performance becomes unique. Kinoshita’s solo piano works also lack any

finger number indications and this can present problems for performers. Suggested

fingerings by the composer or an experienced pianist would be most helpful for young

students as they learn music. If fingerings are provided, students do not have to spend a

long time deciding which fingerings will result in better phrasing. Fingerings can also

help students avoid technical problems that might have occurred otherwise. Aware of

these issues and heeding the advice of her fellow musicians, Kinoshita does plan to

include suggested fingerings in her future compositions.

Kinoshita’s music tends to fit the pianist’s hands well. This is largely due to her

own experience as a pianist: because of her ability to play the piano, she has an intimate

knowledge of the instrument and understands fundamental piano techniques. For example,

her piano music does not include blocked chords bigger than a ninth. This should not

prove a problem for most pianists.3 Kinoshita also mentioned in her interviews with me

that her frequent use of gliding fifths and parallel thirds is due to her own comfort playing

these intervals. In fact, these intervals are taught early to beginning piano students and

should come quite naturally to skilled pianists.

We should also consider Kinoshita’s music in light of her Japanese heritage.

Many people might expect “traditional Japanese sounds” from a Japanese composer.4

3 My hands are considered “small” in comparison with many of my piano colleagues, yet I found Kinoshita’s blocked ninth chords relatively easy to reach. 4 “Traditional Japanese sound” includes the sound created by Japanese traditional instruments, such as syakuhachi, syamisen, koto, and mokugyo [wooden fish]. They use pentatonic scales, such as D, E, G, A, and B.

124

However, as Kinoshita grew from a child into an adult, Japan began to embrace Western

music more openly. Japanese people began to pair simple Japanese lyrics with Western

melodies and started teaching Western music more regularly in schools.5 Eventually

Western-influenced songs became a new kind of folk music for Japan, signaling a

blending of cultures. While some composers have tried to reconnect with their Japanese

identity and heritage by using traditional instruments and music, Kinoshita aims to keep

her compositions “borderless.” By mixing old and new traditions together, she gives her

music a unique character that is defined by its multiplicity of stylistic genres.

My Final Impressions

Because I had never played Kinoshita’s music before beginning this project, I did

not know what to expect. Once I became familiar with Kinoshita’s musical language,

however, the pieces came together quite quickly. I found her music imaginative and full

of exciting sound possibilities.6 I also discovered that the lack of detailed notations can be

both an advantage and disadvantage for the pianist. For example, a lack of detailed

notation would make the pianist think of how the music should make sense, whereas

overly detailed notation will give the answer what to do, and the pianist would not have

to be imaginative. If the pianist uses his or her imagination to draw out many of the

5 A shift towards Western music may have resulted from the unsuitability of traditional Japanese songs for children. The lyrics of many traditional Japanese songs address the subtleties of love between a man and woman. Since the Japanese believed that talking about love in front of children was taboo, they had to create alternative ways to teach music to children. Thus new lyrics that were suitable for children were written and paired with new Western tunes. 6 Pianists working with Kinoshita’s music have many opportunities to create subtle nuances: slight changes of phrasing, tempo, pedaling, and dynamics can be very effective.

125

gestures implied by but not explicitly written on the score, Kinoshita’s music becomes a

living, breathing work well worth exploring.

As I have shown through this study, Kinoshita provides a myriad of musical

sounds and techniques in her solo piano works to engage and challenge piano students of

all ages and levels. My hope is that by providing these recordings with the performance

guide, I have created a resource for teachers and pianists that will stimulate interest in

Kinoshita’s music. I strongly believe we must continue exploring new music by living

composers and we must embrace the music of those that walk among us, for composers

like Kinoshita have very much to offer.

126

APPENDIX A

A List of Kinoshita’s Musical Works [Not Including Piano Solo]

Pf = Piano Hp = Harp Sax = Saxophone Org = Pipe organ Orch = Orchestra Cl = Clarinet Perc = Percussion S = Soprano Timp = Timpani A = Alto Vc = Cello T = Tenor Vn = Violin B = Baritone Vib = Vibraphone Brass-ens = Brass ensemble

Songs Year

Title (pronunciation) [English translation]

Formation

Publisher

Number of pieces included

2011 花のかず (Hanano Kazu)

Vocal, Pf Ongakuno tomo sha 9

2010 幼年(Yo-nen) [Childhood] Vocal, Pf Edition KAWAI 1 2009 竹とんぼに(Take tonbo ni) Vocal, Pf Ongakuno tomo sha 1

サッカーによせて (Soccer ni yosete) [For Soccer]

Vocal, Pf 1

鴎 (Kamome) [Seagull] Vocal, Pf Edition KAWAI 1

動物詩集 (Doubutsu Shisyu)

Vocal, Pf Edition KAWAI 7

悲しみの枝に咲く夢 (Kanashimi no edani saku yume)


2008 たんぽぽ (Tanpopo) [Dandelion]


夢みたものは (Yume mita monowa)


古風な月(Kohu na Tsuki) Vocal, Pf Edition KAWAI 5

父の唄 (Chichi no Uta) Baritone, Alto sax, Pf

Edition KAWAI 3

2007 なにかがほら (Nanikaga hora)


2005 Vocalise Soprano, Hp, Vc, Vib

1

2000 C.ロセッティの４つの歌 (Four Songs by C. Rossetti)


1999 へびとりのうた Vocal, Pf Edition KAWAI 4

127

(Hebitori no Uta) 1999 三好達治の詩による２つの

歌 (Miyoshi Tatsuji ni yoru hutatsu no Uta)


抒情小曲集 (Jyojyo shouhin kyokusyu)


1998 黒田三郎の詩による三つの

歌 (Kuroda Saburo no shi niyoru mittsu no Uta)

Baritone, Pf Edition KAWAI 3

ひこうき(Hiko-ki) [Airplane] Vocal, Pf Edition KAWAI 1

ゆりいす(Yuri isu) [Rocking Chair]


1997 歌を歌って(Uta wo utatte) Vocal, Pf Edition KAWAI 1

ねこぜんまい (Neko zenmai)


夕顔 (Yu-gao) [Moonflower]


ほんとにきれい (Hontoni kirei)


1996 かぜとかざぐるま (Kaze to Kazaguruma)


雲の窓(Kumo no Mado) Vocal, Pf Edition KAWAI 1

うぐいす(Uguisu) [Japanese bush warbler]


おもいで (Omoide) [Memories]


1995 愛する歌 (Aisuru Uta) [Love Songs]


秋の瞳(Aki no Hitomi) Vocal, Pf Edition KAWAI 8

六つの浪漫 (Muttsu no Roman) [6 Romantic Pieces]


涅槃 (revised) (Nehan) [Nirvana]


1994 晩夏(Banka) [Late Summer]


かくれんぼ(Kakurenbo) [Hide and Seek]

Folk song Fukuonkan shoten 1

1986 群馬県立高崎東高等学校校

歌[Gunmakenritsu Takasaki Higashi High School Song]

Vocal, Pf 1

1978 涅槃(Nehan) [Nirvana] Soprano, Pf Edition KAWAI 1

128

Choral music accompanied by orchestra

2011 光はここに (Hikari wa kokoni) [The Light is Here]

SATB, Orch Edition KAWAI 6

邪宗門秘曲 (Jyashu-mon Hikyoku)


2010 たいようオルガン (Taiyo Organ)

SATB, Orch 1

2008 鴎(Kamome) [Seagull] SATB, Orch Edition KAWAI 1

４つの舞曲(Vocalise) [Four Dances]

SST, Orch, Pf

Kyouiku Geijyutu sha 4

光はここに (Hikari wa kokoni) [The Light is Here]

SATB, Org Edition KAWAI 6

2007 春に(Haru ni) [In Spring] SATB, Wind-Orch

Ongakuno tomo sha 1

いま！(Ima !) [Now !] SSA, SATB, Wind-Orch

Edition KAWAI 1

原体剣舞連 (Gentai Kenburen)

SATB, Orch 1

鴎,うみ [Seagull, Sea] SATB, Org 2 2005 Christmas Carol Medley

(revised)

SATB, Brass-ens, Org, Perc.

1

原体剣舞連 (Gentai Kenburen)

SATB, Orch 1

2004 BLUE SSAA, Perc. Mother Earth 3 2002 The door into summer SSA, Perc. Mother Earth 1 2001 虚無の未来へ

(Kyomu no Mirai e) SATB, Orch 4

邪宗門秘曲 (Jyashu-mon Hikyoku)


1999 四万十川 (Shimanto-gawa) [Shimanto River]


1993 春と修羅 (Haru to Syura) SATB, Brass-ens

2

Orchestral works

2010 呼吸する大地 (Kokyu suru Daichi)

Orch 1

2008 CYBER TRIP Wind-Orch Tokyo Hassuru copy 1 2007 GOTHIC (revised) Wind-Orch Buren sha 1 2006

GOTHIC Wind-Orch, Perc. 1-3

1

129

2006 Pulsation Wind-Orch, Timp. Perc. 1-3

Hihon suiso-gaku renmei

1

1996 シンフォニエッタ (Sinfonietta)

Str-Orch Ongakuno tomo sha 3

1991 消えていくオブジェ (Kieteiku Objet)

Orch 1

1989

夜の淵 (Yoru no Huchi) Abyss of Night

Orch 1

Sinfonia Wind-Orch YAMAHA ongaku shinkokai

1

1986 Aura for Orchestra Orch 1 1982 Fantasy 2 Orch 1 1981 序奏とアレグロ

Introduction and Allegro Wind-Orch Zen nihon

suisougaku renmei 1

1979 壺天 (Koten)

Orch 1

1978 管弦楽のための一章 (Kangengaku no tame no Isshou)

Orch 1

1977 Fantasy Orch 1

Choral music

2010

自然と愛と孤独と (Shizen to Ai to Kodoku to)

SSA, Pf Edition KAWAI 1

The Ark TTB, Pf Edition KAWAI 5 2009 Blue SATB, Pf Edition KAWAI 1

ざりがに(Zarigani) [Crayfish]

SA, Pf Ongakuno tomo sha 1

いのちの木を植える (Inochi no Ki wo ueru)

SATB, Pf Ongakuno tomo sha 4

さびしいよる (Sabishii Yoru) [Lonely Night]


お早うの朝 (Ohayo no Asa) SATB, Pf Edition KAWAI 1

雨[Rain] SSA, Pf Ongakuno tomo sha 1

あいたくて(Aitakute) SSA, Pf Ongakuno tomo sha 1 2008 光る刻(Hikaru koku) TTB, Pf Edition KAWAI 4 2007 あさっておいで

(Assatte Oide) SA, Pf Ongakuno tomo sha 1

どんどんほったら (Don don hottara)

SA, TB, Pf Ongakuno tomo sha 1

コップのうた (Koppu no Uta)

SA, TB, Of Ongakuno tomo sha 1

にじ色の魚 (Niji iro no Sakana)

SATB Editio KAWAI 1

130

金沢市立杜の里小学校校歌(Kanazawa shiritsu Morisnosato Elementary School Song )

Vocal, Pf 1

ある日のたび (Aruhi no Tabi)


朝の頌歌 (Asa no Homeuta)

TTBB, Pf Ongakuno tomo sha 3

曇り日なら (Kumori-bi nara)


2006 足おと(Ashi-oto) SA, Pf Ongakuno tomo sha 1

悲しみの枝に咲く夢 (Kanashimi no Eda ni saku Yume) [A Dream Hung on the Lonely Tree]

SA, Pf Edition KAWAI 5

カゼクサ(Kazekusa) SA, Pf Ongakuno tomo sha 1

わたしはカメレオン [I am Chameleon]

TTBB Edition KAWAI 6

竹とんぼに (Take-tonbo ni)


花のかず (Hana no Kazu)


クルミ [Walnut]


鴎[Seagull] SATB Edition KAWAI 1

きりん(Kirin) [Giraffe]


夢のなかの空 (Yume no naka no Sora)


ゆりいす(Yuri-isu) [Rocking Chair]


まいにち〈おはつ〉 Everyday “Ohatsu”

SA, TB, Pf Hihon hoso syuppan kyokai

1

2005 はじまり (Hajimari)


湖上(Kojyo) SATB 1

私は月にはいかないだろう(Watachi wa Tsuki niwa ikanaidaro) [I’ll never go to the Moon]

SAT, Pf Kyouiku Geijyutsu sha

1

2004 夢みたものは (Yume mita mono wa)

TTBB Edition KAWAI 1

旅の歌(Tabi no Uta) SATB, Pf 1

生きぬくいのち (Ikinuku Inochi)

SATB, Pf, Children’s choir

1

131

ネロ-愛された小さな犬に Nero: For a well-loved little Dog

SSAA Ongakuno tomo sha 1

さびしいカシの木(Sabishi Kashi no Ki)

SSA, TTB, Pf Ongakuno tomo sha 1

石ころ (Ishikoro)

ST, Pf Kyouiku Geijyutsu sha

1

あひるとカンガルー [The Duck and the Kangaroo]

SA/TB, Pf Kyouiku Geijyutsu sha

1

ロマンチストの豚 [Romantic Pig]

SSA Ongakuno tomo sha 1

おんがく [Music]

SSAA Ongakuno tomo sha 1

サッカーによせて [For Soccer]


いっしょに (Issho ni)


地平線のかなたへ [Beyond the Horizon]


いつかどこかで (Itsuka dokokade)

SATB, Pf Edition KAWAI 1

さびしいカシの木 (Sabishi Kashi no Ki)

SSA, Pf Ongakuno tomo sha 1

2003 サッカーによせて,ロマンチ

ストの豚,さびしいカシの木

SATB Ongakuno tomo sha 3

いつかしら野に立つて (Itsukashira Noni tatte)

TB 1

2002 真夜中のモノローグ (Mayonaka no Monologue)

SATB, Pf 1

ひとつめこぞう [The One-Eyed Goblin]

Children’s choir Ongakuno tomo sha 3

なぎさの地球 (Nagisa no Chikyu)

SATB/SSAA/TTBB, Pf

NHK 1

2001 幻影 [The Illusion]

SSAA, Pf Edition KAWAI 4

ロマンチストの豚 [Romantic Pig]

TTBB Ongakuno tomo sha 1

2000 春二題 [Two Spring Songs]


そのひとがうたうとき (Sonohitoga utau toki)

SATB, Pf Kyouiku Geijyutsu sha

1

1999 カレハ (Kareha)

SATB Ongakuno tomo sha 1

光と風をつれて SATB, Pf Ongakuno tomo sha 5

132

(Hikari to Kaze wo tsurete) そのひとがうたうとき (Sono Hito ga utau toki)

SAT, Pf Kyouiku Geijyutsu sha

1

来てみてごらんこの街へ (Kitemitegoran kono Machi e)

SA, Pf 1

1998 ふくろうめがね (Fukuro Megane)

TTB/SSA Ongakuno tomo sha 4

C.ロセッティの４つの歌 [Four Songs by C. Rossetti]


ある日くまは (Aruhi Kuma wa)


ほたるたんじょう (Hotaru Tanjyo)


あざらしなかま (Azarashi Nakama)


1997 グリンピースのうた [A Song of Greenpeace]

Children’s choir Ongakuno tomo sha 5

月の角笛 Lyrical Songs “The Moon’s Horn”


仏の見たる幻想の世界 [The Visionary World Buddha Saw]

Two SATBs Ongakuno tomo sha 1

ELEGIA SATB Edition KAWAI 5 めばえ (Mebae)

SATB/TTBB/SSAA

Nihon hoso syuppan kyokai

1

1996 うたをうたうとき (Uta wo utautoki)

SATB/SSA JCDA (Japan Choral Directors Association)

1

５つの祈り (Itsutsu no Inori)


地平線のかなたへ [Beyond the Horizon]


大伴家持の三つの歌 Three Songs of Ooban-komochi


秋のまんなかで (Aki no mannakade)

SAT, Pf Ongakuno tomo sha 1

1995 トムトムおじさんの綿菓子

屋 (Tomutomu Ojisan no Watagashiya)

SSA/TTB, Pf Kyouiku Geijyutsu sha

1

愛する歌 (Aisuru Uta)

SA/TB, Pf Ongakuno tomo sha 10

曇り日なら (Kumoribi nara)

ST, Pf Ongakuno tomo sha 1

どうしていつも SATB Ongakuno tomo sha 1

133

(Doushite itsumo) うたよ！ (Utayo !)


犬が自分のしっぽをみて歌

う歌 A Song Sung by a Dog Looking at its own Tail

TB/SA, Pf Ongakuno tomo sha 1

絵の中の季節 Seasons Found in Pictures

SSA Edition KAWAI 3

1994 恋のない日 (Koi no nai hi)

TTBB Ongakuno tomo sha 6

足おと (Ashi oto)

ST Ongakuno tomo sha 1

ユレル (Ureru)


海と涙と私と (Umi to Nmida to Watashi to)


わたしは風 (Watashi wa kaze)


オンディーヌ Ondine

SSAA, Pf Edition KAWAI 1

1993 夢みたものは (Yume mita mono wa)


三つの不思議な物語 Three mysterious Stories


雪の街 (Yuki no Machi)

SA/ST, Pf Ongakuno tomo sha 1

1992 地平線のかなたへ [Beyond the Horizon]


ア・カペラ組曲 [A Capella Suite]

SSA 1

暁と夕の詩 (Akatsuki to Yu no Uta)


二十億光年の孤独 (Nijyuokukonen no Kodoku)


さびしいカシの木 (Sabishii Kashi no Ki)

ST, Pf Ongakuno tomo sha 1

春に (Haru ni)


もえる緑をこころに (Moeru Midori wo kokoro ni)

SAT/SSA, Pf Nihon hoso syuppan kyokai

1

1991 真夜中 (Mayonaka)

TTBB, Pf Edition KAWAI 3

卒業式 (Sotsugyoshiki)


134

春の予感 (Haruno yokan)

SATB Edition KAWAI 1

1990 オンディーヌ Ondine


あわていきもののうた (Awateikimono no Uta)

SSA/TTB, Pf Edition KAWAI 5

さびしいカシの木 (Sabishii Kashi no Ki)


誰かがちいさなベルをおす (Darekaga chiisana Beru wo osu)


きんいろの太陽がもえる朝

に (Kin-iro no Taiyo ga moeru Asa ni)


ひばり (Hibari)


ネロ-愛された小さな犬に Nero: For a well-loved little Dog


1989 ファンタジア Fantasia


サッカーによせて For Soccer


春に In Spring


ロマンチストの豚 Romantic Pig


うみ (Umi)

SSA/TTB Ongakuno tomo sha 1

1988 サッカーによせて For Soccer


ほのかにひとつ (Honoka ni Hitotsu)


邪宗門秘曲 (Jyashumon Hikyoku)


地球の仲間 (Chikyu no Nakama)


サッカーによせて For Soccer


こまどりをころしたのだ

れ？ Who Killed Cock Robin?


1987 方舟 The Ark


Enfance Finie TTBB, Pf Edition KAWAI 4

135

1986 光る刻 (Hikaru koku)


ティオの夜の旅 Tio’s Night Trip


1985 こまどりをころしたのだ

れ？ Who Killed Cock Robin?


夢のかたち (Yume no katachi)


むらさきの (Murasaki no)


1984 風が風を (Kazega Kazewo)


1983 ティオの夜の旅 Tio’s Night Trip


1980 方舟 The Ark


Chamber Music

2010 空中庭園 (Kuchu Teien)

4 viola da ganbas 2

2008 打楽器コンチェルト Percussion Concerto

Perc.solo, Perc.ens.1-4

Ongakuno tomo sha

3

2007 夜はすべてのガラスであ

る (Yoru wa subeteno Garasu de aru)

Flute, Perc. 1

2005 ふるえる月 (revised) The Trembling Moon

Perc. 1-4 Nihon sakkyokuka kyogikai

1

2004 ねじれていく風景 Twisting Landscapes

Cl, Vn, Pf Ongakuno tomo sha

3

2000 ふるえる月 The Trembling Moon

Perc. 1-4 Nihon sakkyokuka kyogikai

1

1977 アンダンテとカプリッチ

ョ Andante and Capriccio

Sax-quartet Ongakuno tomo sha

1

1976 雨 (Ame) [Rain]

Mandolin-orch 1

1976 サクソフォン･ソナタ Saxophone Sonata

Sax, Pf 1

136

Piano duet

2010 迷宮のピアノ Labyrinthine Piano

Four-hand, Pf Edition KAWAI 5

2005 星の砂 (Hoshi no Suna)


2002 やわらかな雨 Gentle Rain


2002 日曜市場 Sunday Market


2001 一羽のかもめ Sea Gull


1999 Romantic Concert Four-hand, Pf Soshisha Creative 1

Opera

2005 Alice in Wonderland (revised)

5S, 2A, 3T, 3B, Bass, Mixed-choir, Orch

Ongakuno tomo sha

2003 Alice in Wonderland 5S, 2A, 3T, 3B, Bass, Mixed-choir, Orch

Ongakuno tomo sha

137

APPENDIX B

Piano Solo Works with Difficulty Level

2007 A Circuit of Dreams, I, II (revised) I II

Edition KAWAI Difficult Difficult

2007 E q. quagga Edition KAWAI Intermediate 2006 Moa Edition KAWAI Intermediate 2004 The Lion with the GI haircut (republished) Edition KAWAI Easy 2003 Uto Uto [Dozing] Edition KAWAI Easy 2001 9 Preludes

Prelude 1 Prelude 2 Prelude 3 Prelude 4 Prelude 5 Prelude 6 Prelude 7 Prelude 8 Prelude 9

Ongakuno tomo sha

Late intermediate Medium difficult Difficult Late intermediate Difficult Medium difficult Difficult Difficult Difficult

2000 Waku Waku [Exciting] Edition KAWAI Easy 1995 A Memorable Lemon Pie Edition KAWAI Easy 1994 Soft Bavarian Cream Edition KAWAI Easy 1993 Alice in Wonderland

1. Alice in the Golden Afternoon 2. Down the Rabbit-Hole 3. Pool of Tears 4. The Dodo and a Strange Race 5. Advice from a Caterpillar 6. Cheshire Cat 7. A Mad Tea-Party Never Ends 8. The Queen’s Croquet-Ground 9. The Trial in a Muddle

10. After the Dream

Edition KAWAI

Easy Intermediate Intermediate Late intermediate Late intermediate Intermediate Medium Difficult Medium Difficult Medium Difficult Intermediate

1991 Children’s Song of Africa Edition KAWAI Easy 1990 Song Sung by a Dog Looking at its own Tail Edition KAWAI Easy 1991 Mother Goose

1. Three Blind Mice 2. Mrs. Bond 3. Old King Cole 4. The Cuckoo 5. Pussy Cat 6. On Christmas Day

Edition KAWAI Easy Easy Intermediate Easy Easy Intermediate

138

7. Jack and Jill 8. Goosey, Goosey Gander 9. Rock-a-bye, Baby 10. Humpty Dumpty 11. Saint Paul’s Steeple 12. Hey Diddle Diddle 13. Who killed Cock Robin? 14. London Bridge

15. Twinkle, Twinkle Little Star

Easy Intermediate Intermediate Intermediate Intermediate Intermediate Intermediate Late Intermediate Early Advanced

1989 The Lion with the GI haircut Edition KAWAI Easy 1988 Hop, hop Edition KAWAI Easy 1986 Circuit of Dreams, I, II, III The Japan

Federation of Composers

Difficult

1979 Fantasy Unpublished Difficult

139

APPENDIX C

Recording Contents of Accompanying CDs

CD 1

9 Preludes Tracks 1 Prelude 1 (2:12)

2 Prelude 2 (2:18) 3 Prelude 3 (1:42) 4 Prelude 4 (2:16) 5 Prelude 5 (2:09) 6 Prelude 6 (2:47) 7 Prelude 7 (3:15) 8 Prelude 8 (4:13) 9 Prelude 9

(3:10)

A Circuit of Dreams 10 I (6:26) 11 II (5:04)

CD 2

Alice in Wonderland Tracks 1 Alice in the Golden Afternoon (1:17)

2 Down the Rabbit-Hole (1:01) 3 Pool of Tears (2:38) 4 The Dodo and a Strange Race (2:34) 5 Advice from a Caterpillar (3:10) 6 Cheshire Cat (1:50) 7 A Mad Tea-Party Never Ends (2:41) 8 The Queen’s Croquet-Ground (3:45) 9 The Trial in a Muddle (4:55)

10 After the Dream (2:16) 10 pieces for Children

11 Hop, hop (0:41) 12 The Lion with the GI haircut (1:00) 13 Song Sung by a Dog Looking at its own Tail (0:44) 14 Children’s Song in Africa (0:36) 15 Soft Bavarian Cream (1:20)

140

16 A Memorable Lemon Pie (1:10) 17 Waku Waku [Exciting] (0:41) 18 Uto Uto [Dozing] (1:01) 19 Moa (2:04) 20 E.q.quagga (1:55)

Mother Goose

21 Three Blind Mice (0:26) 22 Mrs. Bond (0:34) 23 Old King Cole (1:01) 24 The Cuckoo (1:01) 25 Pussy Cat (0:30) 26 On Christmas Day (1:05) 27 Jack and Jill (0:21) 28 Goosey, Goosey Gander (0:33) 29 Rock-a-bye, Baby (1:04) 30 Humpty Dumpty (0:30) 31 Saint Paul’s Steeple (1:08) 32 Hey Diddle Diddle (0:33) 33 Who killed Cock Robin? (1:49) 34 London Bridge (1:27) 35 Twinkle, Twinkle Little Star (1:34)

141

Bibliography

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———. “Hop, hop.” In Carnival: Piano Solo Album for Recitals. Edited by Japan

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for Children. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1989. ———. “Song Sung by a Dog Looking at its own Tail.” In The Collection of Piano

Pieces by 44 Composers for Children: Animal Chapter 1. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1990.

———. Mother Goose. Tokyo: KAWAI, 1991. ———. “Children’s Song of Africa.” In The Collection of Piano Pieces by 49

Composers for Children: 49 Composers Travel Around the World 1. Edited by Japan Federation of Composers. Tokyo: KAWAI, 1991.

———. Alice in Wonderland. Tokyo: KAWAI, 1993. ———. “A Memorable Lemon Pie.” In The Collection of Piano Pieces by Composer for

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———. “Soft Bavarian Cream.” In The Collection of Piano Pieces by 42 Composers for

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———. “Waku Waku.” In The Collection of Piano Pieces by Composers for Children.

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———. A Circuit of Dreams. 2nd ed. Tokyo: KAWAI, 2007. ———. Twisting Landscapes. Tokyo: Ongakuno-Tomo-Sha, 2004. Recordings: Alice in Wonderland. Victor Entertainment VICS-61218. CD. 1999. The Trembling Moon. ALM Records/Kojima Recordings ALCD-71. CD. 2007.

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Music of Haydn, Mozart, and Beethoven. New York: Oxford University Press, 1998.

Carroll, Lewis. Alice in Wonderland, 2nd ed. New York: W.W. Norton & Co., c1992. Hinson, Maurice. Guide to the Pianist’s Repertoire. Bloomington, IN: Indiana University

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Yanase, Takashi. Aisuru Uta [Love songs]. Tokyo: Sanrio-sha, 1977. Reviews: Houser, Virginia. Review of Bartók and the Piano: A Performer’s View, by Barbara

Nissman. American Music Teacher 52, no. 6 (June/July 2003): 96 Orlofsky, Diane D. review of Edvard Grieg and His Songs, by Sandra Jarrett. Music

Educators Journal 91, no. 1 (September 2004): 64 Witten, David. Review of Bartók and the Piano: A Performer’s View, by Barbara

Nissman. Notes 60, no. 2 (December 2003): 452. Websites: Kinoshita, Makiko. “Music Composer, Kinoshita, Makiko: Official Web Site.”

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Documents

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