{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/49546"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/49546","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The use of traditional Japanese music as an inspiration for modern saxophone compositions: An interpretive guide to Joji Yuasa's Not I but the wind' and Masakazu Natsuda's West, or Evening Song in Autumn","abstract":"The use of non-Western music, particularly the traditional music of Japan, as the impetus for Western compositions has become increasingly common in music for saxophone since 1970. Many of the composers who have undertaken this fusion of styles are of Japanese nationality, but studied composition in Western conservatories and schools of music. Two composers who have become known for the use of elements from Japanese music within their compositions intended for Western instruments and performers are Joji Yuasa and Masakazu Natsuda. The aim of this study is to examine the manners in which these two composers approached the incorporation of Japanese musical aesthetics into their music for the saxophone. The first part of the document examines Joji Yuasa’s Not I, but the wind…, which uses the shakuhachi flute as its stylistic inspiration. A history and description of the shakuhachi flute, as well as the techniques used to create its distinctive musical style are provided. This is followed by a detailed examination of the manner in which the composer utilizes these stylistic elements within the composition, and a performance guide that stipulates how these elements should be interpreted by saxophonists. The second part of the document examines Masakazu Natsuda’s West, or Evening Song in Autumn, with a focus on the compositional elements of the piece that see their roots in the music of the gagaku court orchestra. The elements of form within the piece will be examined in detail, with a focus on the derivation of these structures from a typical piece written for the gagaku court orchestra. The impact that these structures have on interpretation will be examined in detail to provide performers with the information necessary to make educated interpretational decisions that are based on the aesthetic goals of gagaku.","abstract_html":"The use of non-Western music, particularly the traditional music of Japan, as the impetus for Western compositions has become increasingly common in music for saxophone since 1970. Many of the composers who have undertaken this fusion of styles are of Japanese nationality, but studied composition in Western conservatories and schools of music. Two composers who have become known for the use of elements from Japanese music within their compositions intended for Western instruments and performers are Joji Yuasa and Masakazu Natsuda. The aim of this study is to examine the manners in which these two composers approached the incorporation of Japanese musical aesthetics into their music for the saxophone. The first part of the document examines Joji Yuasa’s Not I, but the wind…, which uses the shakuhachi flute as its stylistic inspiration. A history and description of the shakuhachi flute, as well as the techniques used to create its distinctive musical style are provided. This is followed by a detailed examination of the manner in which the composer utilizes these stylistic elements within the composition, and a performance guide that stipulates how these elements should be interpreted by saxophonists. The second part of the document examines Masakazu Natsuda’s West, or Evening Song in Autumn, with a focus on the compositional elements of the piece that see their roots in the music of the gagaku court orchestra. The elements of form within the piece will be examined in detail, with a focus on the derivation of these structures from a typical piece written for the gagaku court orchestra. The impact that these structures have on interpretation will be examined in detail to provide performers with the information necessary to make educated interpretational decisions that are based on the aesthetic goals of gagaku.","abstract_has_math":false,"creators":["Anderson, Christopher"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Lund, Erik R.","Richtmeyer, Debra","Nettl, Bruno","Harris, David"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-05-30T16:49:21Z","date_published":"2014-05-30T16:49:21Z","updated_at":"2026-07-22T22:25:38Z","subjects":["Saxophone","Japan","Non-western music","shakuhachi","gagaku"],"languages":["en"],"rights":["Copyright 2014 Christopher Anderson"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/49546","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Lund, Erik R.","Richtmeyer, Debra","Nettl, Bruno","Harris, David"]},{"key":"dc:creator","label":"Author","values":["Anderson, Christopher"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-05-30T16:49:21Z","2014-05"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Saxophone","Japan","Non-western music","shakuhachi","gagaku"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2014 Christopher Anderson"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/49546"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The use of non-Western music, particularly the traditional music of Japan, as the impetus for Western compositions has become increasingly common in music for saxophone since 1970. 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This is followed by a detailed examination of the manner in which the composer utilizes these stylistic elements within the composition, and a performance guide that stipulates how these elements should be interpreted by saxophonists. The second part of the document examines Masakazu Natsuda’s West, or Evening Song in Autumn, with a focus on the compositional elements of the piece that see their roots in the music of the gagaku court orchestra. The elements of form within the piece will be examined in detail, with a focus on the derivation of these structures from a typical piece written for the gagaku court orchestra. 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Two composers who have become known for the use of elements from Japanese music within their compositions intended for Western instruments and performers are Joji Yuasa and Masakazu Natsuda. The aim of this study is to examine the manners in which these two composers approached the incorporation of Japanese musical aesthetics into their music for the saxophone. The first part of the document examines Joji Yuasa’s Not I, but the wind…, which uses the shakuhachi flute as its stylistic inspiration. A history and description of the shakuhachi flute, as well as the techniques used to create its distinctive musical style are provided. This is followed by a detailed examination of the manner in which the composer utilizes these stylistic elements within the composition, and a performance guide that stipulates how these elements should be interpreted by saxophonists. 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