int . ‘g “ V‘P ‘\ ABSTRACT THE BAND IN JAPAN FROM 1945 TO 1970: A STUDY OF ITS HISTORY AND THE FACTORS INFLUENCING ITS GROWTH DURING THIS PERIOD BY Yoshihiro Obata The purpose of this study was to discover the development of band music in Japan from 1945 to 1970, to trace its activities, and show the American influence upon its growth and development. The materials used were gathered from personal interviews with musicians both in Japan and the United States, from correspondence with numerous Japanese scholars, publishers, composers, and bandmasters in Japan, and from Japanese periodicals. The result of this study revealed that prior to the end of World War II in 1945, the band in Japan was mainly utilized as a military adjunct. By 1970, however, due to the strong American influence caused by the occupa- tion, band music in Japan was much in evidence in the lives of the people. This was shown by the band literature pub- lished and performed, band instrumentation, and band at 1’6 Yoshihiro Obata activities and movements. Consequently, this medium was recognized as a desirable part of the culture, education, and enjoyment of all Japanese people. THE BAND IN JAPAN FROM 1945 TO 1970: A STUDY OF ITS HISTORY AND THE FACTORS INFLUENCING ITS GROWTH DURING THIS PERIOD BY Yoshihiro Obata A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1974 To Sharon ii ACKNOWLEDGMENTS The author is grateful and deeply indebted to: committee members, Dr. Douglas Campbell, Dr. Gomer Jones, Professor Keith Stein, and Professor Romeo Tata, for their constructive criticism and suggestions, generously given throughout this study, Dr. Edgar Kirk, committee chairman and advisor, who is due special appreciation and recognition for his helpful guidance of this project, Sharon, whose encouragement, sacrifice, and assistance in proofreading and typing enabled this work to be undertaken, numerous Japanese professors, musicians, con- sultants, and friends for their gracious cooperation in obtaining information and material for this dissertation. iii Che fl f? “.7 . Unis, . ‘i, TABLE OF CONTENTS LIST OF TABLES O O O O O O O O O O O 0 Chapter I. A HISTORY OF THE BAND IN JAPAN BEFORE 1945 O O O O C O O O C O O C . Political Climate in Japan Before 1945 . Early Bands in Japan . . . . . . . Rise of Nationalism and Militarism . . II. A HISTORY OF THE BAND IN JAPAN DURING THE OCCUPATION PERIOD (1945-1952) . . . Rise of Professional Bands . . . . The Bands in the Public School System . The College Band . . . . . . . . III. A HISTORY OF THE BAND IN JAPAN AFTER THE OCCUPATION PERIOD (1953-1961) . . . . Role of the Japanese Publishers of Band Music . . . . . . . Rise of Service Bands and American Influence . . . . . . . . . . Instrumentation and Repertoire of the Visiting United States Service Bands to Japan . . Resumption of the All- -Japan .Band Contest and the School Band Movement . . . IV. A HISTORY OF THE BAND IN JAPAN DURING THE PERIOD OF GREAT MUSICAL STRIDES (1962-1966) 0 o I o o o o o o 0 New Movement to Promote Japanese Composers of Band Music . . . . Birth and Development of Professional Concert Bands . . . . . . . . The 1964 Olympic Games . . . . . . Exchange of Visits Between American and Japanese Bandmasters . . . . . iv Page vi 1? 17 25 31 37 37 45 51 57 64 64 69 76 77 Chapter V. A HISTORY OF THE BAND IN JAPAN (1967-1970) . . . . . . . . . Role of the All-Japan Band Association Role of the Yamaha Ongaku Shinkokai (Yamaha Music Development Corporation) . . . . . . Birth and Role of the Suisogaku Shidosha Kyokai (Japan Band- masters Association) . . . . . Summary . . . . . . . . . . BIBLIOGRAPHY . . . . . . . . . . . . Page 82 82 84 90 95 101 Tat rm Table 10. 11. 12. 13. LIST OF TABLES Instrumentation of the First Band in 1869 . Instrumentation of the Navy Band in 1871 . Instrumentation of the Boys' Band of Mitsukoshi Department Store, 1909 . . . Furitsu-Daiichi-Shogyo School Band Instru- mentation in 1928, and Representative Literature . . . . . . . . . . . Instrumentation of the Tokyo Shobo Cho Band in May, 1949 (Tokyo MetrOpolitan Fire Department Band) . . . . . . . . . Instrumentation of the Tokyo Shobo Cho Band in May, 1950 (Tokyo Metropolitan Fire Department Band) . . . . . . . . . Instrumentation of the Tokyo Keishi Cho Band in 1949 (Tokyo MetrOpolitan Police Band) . Instrumentation of the Tokyo Geijyutsu Dai aku Band in 1951 (Tokyo Univer- 51ty of Arts Band) . . . . . . . . Typical Instrumentation for Compositions Pub- lished by the Kyodo Ongaku Shuppan Sha (Kyodo Music PubliShing Company), 1953 Instrumentation of Band Music Published by Ongaku-no-Tomo Sha in 1958 (Friends of Music Company) . . . . . . . . . Instrumentation of the Self-Defense Army Band in 1954 O O O O O O I I O O Instrumentation of the Self-Defense Navy Band in 1954 . . . . . . . . . . Instrumentation of the Self—Defense Air Force Band in 1961 . . . . . . . . . . vi Page 10 11 19 22 23 34 40 46 48 48 49 24 25. 25. 27, Table 14. 15. l6. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. Instrumentation Force Band in Instrumentation Field Band in Required Pieces Page of the United States Air 1960 O O O O O O O 0 O 54 of the United States Army 1960 . . . . . . . . . 55 Assigned to All Junior and Senior High School Bands at the All-Japan Band Contest, 1956 Through 1961 . . . . . 60 Instrumentation of Gamagori Junior High School Band, First-Ranking Junior High School Band in the 1957 Contest . . . . . . . . . 61 Instrumentation of Tenri Senior High School Band, First-Ranking Senior High School Band in the 1957 Contest . . . . . . . 62 Instrumentation of Ohmiya Kogyo Senior High School Band, First-Ranking Senior High School Band in the 1959 Contest . . . . . 62 Instrumentation of the Imazu Junior High School Band, First-Ranking Junior High School Band in the 1961 Contest . . . . . 63 Participating Bands at the 1962 All-Japan Band Contest Required Pieces . . . . . . . . . . . 66 Assigned to All Participating Bands at the All-Japan Band Contests, 1962 Through 1966 . . . . . . . . . 67 Instrumentation of the Tokyo Suisogakudan in 1963 (Tokyo Symphonic Band) . . . . . . 70 Instrumentation of the Osaka Shi Ongakudan, 1962 Through 1966 (Municipal City Band of Osaka) . Required Pieces 0 O O O O O O O O O O 73 Assigned to All Participating Bands at the All—Japan Band Contests, 1967 Through 1969 . . . . . . . . . 83 Suisogaku Hyojyun Henseian (Standard Band Instrumentation Plan) Endorsed by the Japan Bandmasters Association in 1969 . . . 93 Standard American Band Instrumentation . . . 94 vii CHAPTER I A HISTORY OF THE BAND IN JAPAN BEFORE 1945 Political Climate in Japan Before 1945 In order to understand fully the significant growth of the band movement in Japan after World War II, it is necessary to know a little of the political history of the country prior to and shortly after the incursion of the United States. It will, therefore, be proper to commence in 1853 when the Japanese people first became exposed to a Western military band. It was brought to the Japanese islands by Commodore Perry, who forced the isolationist Tokugawa government to open its ports for trade. Perry landed at Uraga and ordered his sailors to march to Edo, then the capital of Japan, with a band. 1 Long before the arrival of Perry, the power of the government was vested in the hands of the Tokugawa family who had established a policy of isolation from the rest of the world. This policy, which opposed foreigners entering Japan, prevented Western cultures from penetrating the islands. However, under the threatening guns of the American ships led by Perry, the government had no choice but to reluctantly open its ports for trade in 1854. Other foreign fleets from Holland, Russia, England, and France soon followed suit, and demanded the same privileges. Inevitably the isolation policy came to a close. Tokugawa's failure to sustain the isolation policy, and the political and social changes needed at home, led to the return of power to the Imperial family. Keiki Tokugawa voluntarily stepped down in 1867 as Meiji, the Emperor, became the active leader in Japan. During the Meiji Period, 1868-1912, a strong national government was established, and all phases of Western culture and trade were brought to the islands. This was a time when the Japanese studied, borrowed, and gradually assimilated those elements from the West which they chose to adopt. They went to England to study the navy and the merchant marine, to Germany for medicine and the army, to France for law, and to the United States to learn new business methods. Following the Meiji Period, the power of the gov- ernment remained in the hands of the Imperial family. Emperor Yoshihito, 1912-1926, and Emperor Hirohito, 1926- 1945, kept and developed most of what their predecessors had established. One of the major contributions of the Meiji govern- ment was the first Japanese Constitution, modeled after that of Germany. In 1889 it was awarded to the people as a gracious gift by the Emperor. The contents clearly stated that the Emperor was the fountainhead of all authority, and his right to rule was carefully protected. One of the innovations of the Constitution was the bicameral Diet. It included a House of Peers, similar to the British House of Lords, and the House of Representa- tives. The former was composed of elected and appointed members of the new nobility, and of a few other privileged groups, such as the highest taxpayers of the land. The latter was to be elected by males over 25 who paid an annual tax of 15 yen or more. Only slightly over one percent of the population was thus represented in an initial electorate of 460,000. Early Bands in Japan In 1869 the first Japanese band was formed at Yokosuka Naval Base near Yokohama. John William Fenton, an English bandmaster, was hired to train and lead the band. At the time, Fenton was attached to the English Consulate ix: Yokohama. The band numbered 29 in the beginning, and was outfitted with instruments imported from England. Table 1 shows the instrumentation of this first band. After concentrated practice and training, it participated in a military review only a year after its inception. The review was held in 1870 at Koshi-Nakajima, Tokyo, with Emperor Meiji inspecting the parade. The band TABLE l.--Instrumentation of the First Band in 1869. Woodwinds Brass Percussion Piccolo l Eb Cornet l Drums 2 Eb Clarinet 1 Bb Cornet 3 Bb Clarinet 8 Flugel Horn 1 Bass Clarinet __1 Eb Trumpet l l Alto Horn 1 Eb French Horn 3 Bb Tenor Horn 1 Tenor Trombone 2 Euphonium 1 Eb Bass 1 Bb Bass __1 TOTAL: 29 6 SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi‘ (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), P. 111. played Kimigayo, which was written for the occasion by Bandmaster Fenton. Kimigayo, which is ceremonial music, translates as Thy Era. After a considerable number of revisions in the melody, it became the national anthem. The anonymous poem was traced back to the tenth century. By 1871 the military system had expanded into two separate divisions, Army and Navy, each with its own band. The Navy retained Fenton, and slightly expanded its band's membership and instrumentation. Table 2 shows the instru- mentation of the Navy Band in 1871. While the Navy established its course, the Army engaged as its leader, Gustave Daguerron, a trumpet player and ex-Navy bandsman from France. The army recruited their men according to the advice given by Daguerron: ”an eligible man should be a man eighteen years old or younger, with a sound body and mind, who comes from a TABLE 2.--Instrumentation of the Navy Band in 1871. Woodwinds Brass Percussion Piccolo l Bb Cornet 3 Drums _2 Eb Clarinet 1 Flugel Horn 2 2 Bb Clarinet 9 Eb Trumpet 2 Bass Clarinet __2. Eb Alto Horn 4 3 Tenor Horn 2 Tenor Trombone 2 Bass Trombone 1 Euphonium 2 Eb Bass 2 Bb Bass __1_ TOTAL: 36 2 SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970). p. 127. family of Samurai,l excluding the first son of such a family."2 By 1873 a total of 20 young men were recruited, and by 1875 the band had grown to a 28-man organization. During that year it gave an unofficial public performance in Tokyo under the directorship of the Japanese band director, Koshino. The program included March Pas Le Double, Tokyo Polka, Airs Japon Gimedley which included Hitostutoya, Kochamakase, and Nenneko), Barcelona Bolero, 3 and La Vie Parisienne Cadlille. In 1883 Daguerron returned to his home in France after his official term expired with the Army Band. Through his recommendation another French bandmaster, Charles Leroux, was hired to fill the vacancy. The Army, however, felt the need to give the future leadership to its country— men; therefore, in 1882 Hiromasa Furuya and Teiji Kudo were sent to the Conservatory of Paris. After seven years both men finished their schooling and returned to Japan in 1889. A year later Furuya was made the Director of the Army Band, lSamurai is a Japanese word meaning "warrior." Its social status during the Tokugawa period was the top of the four classes followed by the farmer, guildworker, and merchant. However, during the Meiji period the Samurai class became less important, thus the social and economic status of the warrior declined. 2Meguro, op. cit. 3Tsunemitsu Yamaguchi, Rikugun-Gungakutai Shi (History of the Imperial Army Band), (lst ed.; Tokyo: Sansei Publishing Co., 1968). p. 44. and he enlarged the membership from 50 to 75 in the same year. The first training center for Japanese military bandsmen was the Rikugun Toyama Gakko (Toyama Army School of Music), Toyama, Tokyo, established by the Army in 1891. It became the incubator and supplier of military bandsmen for many years, thus becoming an influential center for band activity. Out of rivalry the Navy, too, established its own center at Yokosuka Naval Base. Although the service rivalry created by the birth of the Army and Navy Bands led to healthy competition between the two, each adopted a different system of nota- tion for lower brass instruments. The Army used the French transposing system, while the English non-transposing system was employed by the Navy. According to the English system of notation adOpted by the Navy, the euphonium and bass were regarded as non-transposing instruments. The parts for these two instruments were written in the bass clef, and were identi— cal to the sounding pitches. On the other hand, the French system of notation used by the Army considered the euphonium and bass as B-flat transposing instruments. The parts were written in the bass clef, although the sounding pitches were a major second lower than the written pitches. Also, in the Army system of notation, the baritone is con- sidered as a B-flat transposing instrument, and the part is written in the treble clef instead of the bass clef. The written pitches are, therefore, a major ninth higher than the sounding pitches. During the cradle period of Japanese band history, most compositions written for this medium were marches and war songs. It was, in fact, the policy of the Japa- nese government to encourage this in order to raise the fighting spirit of the Japanese people, particularly dur- ing the period of the Sino-Japanese War (1894-1895). Representative composers and works for these mili- tary marches and songs include the following: Kaisen (Battle in the Sea) 1894 Kozo Yoshimoto Kokai Kaisen (March--Battle 1894 Hozumi Tanaka at Yellow Sea) Kinkei Kunsho (Medal of the 1894 Zyuzaburo Yamamoto Golden Rooster) Gaisen (War Song--Triumph) 1895 Zyuzaburo Yamamoto Yuki no Shingun (March-- 1895 Kenshi Nagai (Marching in Snow) Michi wa 680 Ri (The Road 1891 Kenshi Nagai is 680 Miles Long) Gekka no Jin (War Camp 1893 Kenshi Nagai Under the Moon) Hohei no Uta (Song of 801- 1843 Kenshi Nagai diers) Gunkan (March--Batt1e Ship) 1897 Tokichi Setoguchi Nippon Kai Kaisen (Battle 1922 Tokichi Setoguchi at the Japanese Sea) Mamore Taiheiyo (Defend the 1942 Tokichi Setoguchi Pacific Ocean) Aikoku (March--Patriotic) 1943 Tokichi Setoguchi Prior to 1892 the Japanese dependedon other nations to supply musical instruments. Although horns made out of shell, fifes made out of wood or bamboo, and drums of various shapes and sizes existed for battle pur- poses during a number of civil wars before 1854, it was Sentaro Egawa of Tokyo who made the first band instrument in Japan. He began in 1892 by handmaking a single horn without valves, and ten years later in 1902 founded Egawa Musical Instruments Manufacturing Inc., Tokyo. He manufactured and sold cornets, alto horns, baritone horns,. etc., but the company had to discontinue its production during the peak of World War II. After the service bands, the commercial bands became the second group to enter band history in Japan. These bands were mainly supported by the large department stores or amusement centers in the metropolitan cities. For example, the Boys' Band of Mitsukoshi Department Store in Tokyo was founded in 1909, and an ex-Navy bandsman, Kotaro Hisamatsu, became the director. The band consisted of the instrumentation shown in Table 3. Other commercial bands such as the Toshimaen Amusement Park Band, Tokyo, and the Izumoya Department Store Band in Osaka were also formed. These groups were paid by, and thus played for the employing companies. The third group to enter the band movement was the school band. This did not take place until 1928. Two of 10 TABLE 3.--Instrumentation of the Boys' Band of Mitsukoshi Department Store, 1909. Woodwinds Brass Percussion b . b B Clarinet _2 B Cornet 2 Drums 2 2 b ‘7 E Alto Horn 2 Baritone 2 Euphonium _1 TOTAL: 11 7 SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi (Instrumentation anquistory), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), P. 143. the first leaders of this new movement were Yoshio Hirooka, who initiated the Furitsu-Daiichi-Shogyo Band in Tokyo in 1928, and Masao Nakamura, an ex-Navy bandsman who founded the Zushi Middle School Band during the same year in Kamakura. Table 4 gives the instrumentation of the Furitsu- Daiichi-Shogyo Band, as well as representative literature. In 1928, when the first school bands were estab- lished, the National School System in Japan was set up for six years of elementary and five years for middle school, including agricultural and technological school. This scheme existed until the end of World War II. These school bands got underway, not as an integral part of the curriculum, but as an extracurricular activity, as reported in the case of the first school band and its 11 TABLE 4.--Furitsu-Daiichi-Shogyo School Band Instrumenta- tion in 1928, and Representative Literature. Woodwinds Brass Percussion Piccolo l Bb Cornet 2 Drums _2 Flute l Bb Trumpet l 2 Bb Clarinet _3 Eb Alto Horn 2 5 Baritone l Trombone 2 Euphonium _1 TOTAL : l 6 9 Representative Literature Father of Victory (March) Gustave Louis Ganne Fairest of the Fair (March) John Philip Sousa Activity (March) Harold Bennett Lustspiel (Overture) Keler-Béla Calif of Bagdad (Overture) Boieldieu SOURCE: Letter from Yoshio Hirooka, the first band direc- tor of the Furitsu-Daiichi-Shogyo School Band in Tokyo, Tokyo, November 5, 1973. director who "went to the Army School of Music in Toyama, Tokyo once a week during the 1928-29 academic year to under- take music instruction from the Army bandsmen."1 Both students and directors participated voluntarily for rehearsals before or after classes. 1Letter from Yoshio Hirooka, the first band director of the Furitsu-Daiichi-Shogyo School Band in Tokyo, Tokyo, November 23, 1973. 12 Although band was not a required subject, it was in the interest of State ideals, and thus participation was endorsed by the Ministry of Education. By the time of World War II the bands had rapidly multiplied through encouragement from the Japanese government. Rise of Nationalism and Militarism Prior to World War II With the rise of militarism and ultra-nationalism by 1930, the schools were transformed into agencies for indoctrination of State ideals. This led to the intro- duction of the National School System whose purpose was two-fold: first, to impose increased "Japanese obedience to the Imperial Rescript on Education in order to guard and maintain the prosperity of the Imperial Throne";l second, to eliminate the idea that the main object of education is to develop individuality. The Imperial Rescript on Education is quoted in full below, as it reflects the eduational philosophy. Imperial Rescript on Education Know Ye, Our Subjects: Our Imperial Ancestors have founded Our Empire on a basis broad and everlasting and have deeply and firmly implanted virtue; Our subjects ever united in loyalty and filial piety have from gen- eration to generation illustrated the beauty thereof. This is the glory of the fundamental character of Our Empire, and herein also lies the lS. Mita, "A Comparative Study of the Preparation of School Music Teachers" (unpublished Ph.D. dissertation, Department of Music, Michigan State University), p. 12. 13 source of Our education. Ye, Our subjects, be filial to your parents, affectionate to your brothers and sisters; as husbands and wives be harmonious, as friends be true; bear yourselves in modesty and moderation; extend your benevo- lence to all; pursue learning and cultivate arts, and thereby develop intellectual faculties and perfect moral powers; furthermore, advance public good and promote common interests; always respect the Constitution and observe the laws; should emergency rise, offer yourselves courageously to the State; and thus guard and maintain the pros- perity of Our Imperial Throne coeval with heaven and earth. So shall ye not only be Our good and faithful subjects, but render illustrious the best tradition of your fathers.l From 1931 throughout the next decade, a chain of events led to the rise of strong nationalism and militarism in Japan. The Manchurian Incident occurred in 1931, fol- lowed by the Lytton Report on Manchuria to the League of Nations in 1933. The war with China took place in 1937, immediately preceding the battle with the Russians at Changkufeng in 1938. The following year witnessed the outbreak of World War II in Europe and the entrance of Japanese trOOps in French Indo-China. Talks between Sec- retary of State Hull and the Japanese Ambassador to the United States, Kichizaburo Nomura, ceased, and the decade of political activity was climaxed when Japan entered World War II by attacking Pearl Harbor in 1941. As nationalism and militarism grew, bandsmen throughout the country decided to found, in 1939, the 1This is the official English translation from Education in Japan, by Theodore Hsi-en Chen, in Compara- tive Study, ed. by Arthur Henry Moehlman and JosEpH__—' Roucek (New York: The Dryden Press, 1953), pp. 575-576. l4 All-Japan Band Association. The Association proclaimed its purpose as "to unite bands together in Japan and to obtain patriotism and service to the country through band music."1 This organization sponsored conventions, clinics, and instigated the All-Japan Band Contest in Osaka in 1940. Subsequently, the contest was held for the next two years in Nagoya and Fukuoka. These contests, which contributed to the advancement of the band movement, attracted and stimulated a number of leading bands from Kobe, Osaka, Nagoya, Fukuoka, and Tokyo. Unfortunately, in 1943 they had to be deferred, along with the All-Japan Band Association, until after the Second World War ended. Ongakutai is the Japanese word for band. Liter- ally it means "music corps." This implied to most Japanese people that the band was mainly an organized subdivision of the military establishment. This belief was particularly prevalent at the outset of World War II, as the bands in Japan all merged their efforts to aid the military goals in a number of ways. As most of their activities took place outdoors, the core instrumentation of the bands was brass rather than woodwind. During the early stages of World War II they were found marching in the streets playing marches and war songs, lSansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band),Vol. VII: Suisogaku no Hensei to Rekishi (Instru- mentation and History),(lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), p. 111. 15 and at rallies performing for incoming soldiers as well as for those leaving for battle. They also frequently made trips to war hospitals to console and entertain the wounded. Other activities included supplying appropriate music at victory ceremonies attended by high government officials. The bands were even dispatched to the fronts to stimulate the patriotism of the fighting soldiers. As part of a pacification and public relations program under the direction of the Japanese military government, many bands were sent to occupied lands to play for the native peOple of Mainland China, Taiwan, Indonesia, Burma, Thailand, and Vietnam. During the peak of World War II in 1943 the Interior Ministry and the War Ministry coined the term Tekisei Ongaku, which means enemy music, and banned the performance of Western music other than that of Germany and Italy. The rising heat of nationalism culminating in World War II forced most European musicians to leave Japan. The use of the English language was denounced as it was Tekisei Go, enemy language, and works composed by English or Americans disappeared from public performance. Scientific and technical words in English were banned, and concert programs, baseball scores, railway signs, etc., which had once appeared bilingually were now only printed in Japanese. In this way the cultural and musical life of the Japanese people was again isolated 16 from Western nations, and musical activities other than those by the military stagnated during World War II. The military government in February, 1944, "prohibited any solo recitals of individual interest, while only concerts 1 Thus which raise the fighting spirit were allowed." military music and the military band established a steady course, while non-military music and non-military music organizations went into rapid decline. However, the war activity of Japanese militarists finally ceased on August 15, 1945, which marked the end of World War II. Japan accepted terms of surrender on board the battleship Missouri, in Tokyo on September 2, 1945. She therefore "entered upon one of the most significant phases of her history."2 1Sansaku Meguro, Ongaku-no-Tomo Sha Nijyugonen no Ayumi (Twenty-Five Years History of Ongaku-no-Tomo Publish- ing Co.), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1966), p. 16. 2Edwin O. Reischauer, Japan--Past and Present (2nd ed.; New York: Alfred A. Knope, Inc., 1958), p. 198. CHAPTER II A HISTORY OF THE BAND IN JAPAN DURING THE OCCUPATION PERIOD (1945-1952) Rise of Professional Bands Tokyo Shobo Cho Band (Tokyo Metro- politan Fire Department Band) Upon the unconditional surrender of the Japanese to the Allied Forces in 1945, the Supreme Commander for the Allied Forces and General of the Army, Douglas MacArthur, set up his general headquarters in Tokyo, and was given executive occupation authority. He directed the efforts of his administration along two main lines: demilitariza- tion, and the implementation of long—range democratic, political, economic, and social objectives. In 1945 one of his efforts to demilitarize the nation resulted in a purge, referred to as the "MacArthur Typhoon" by the Japanese. One of its directives prohibited all war criminals and professional army and navy men from acquiring government or civil service posts. As a result, the "MacArthur Typhoon" wiped out all military bands. Immediately after World War II the life of the Japanese people was very hectic. Shortages of food, unem- ployment, and inflation were prevalent. The ex-military bandsmen were also seeking jobs as they, too, were 17 18 struggling among the swollen ranks of the unemployed. A small percentage were fortunate enough to find jobs playing jazz and dance music at clubs, hotels, theaters, and restau- rants, music which was banned during World War II. Both small and large American style jazz and dance bands mush- roomed throughout the major cities of Japan, and consequently jazz musicians eventually enjoyed a lucrative income, especially at places frequented by the soldiers of the occupation forces. On the other hand, there were many serious musicians who devoted their efforts to restoring the band to a position similar to that which existed in the Japanese armed forces prior to the occupation. After a few storm years the "MacArthur Typhoon" gradually subsided, and the ex-military bandsmen were allowed to take posts in government offices. At this time a group of ex-navy bandsmen were working and moving together to set up a band. The product was an organiza- tion founded in 1948 within, and financed by, the Tokyo Shobo Cho, the Tokyo MetrOpolitan Fire Department. The Metropolitan Fire Department Band was headed by Seigo Naito, an ex-navy bandmaster, and the leader of the ex-navy bandsmen who were actively engaged in its found- ing. However, the size and instrumentation of the band were far from complete due to the economic status of the country. Table 5 shows the instrumentation of this band in May, 1949. 19 TABLE 5.--Instrumentation of the Tokyo Shobo Cho Band in May, 1949 (Tokyo Metropolitan Fire Department Band). Woodwinds Brass Percussion Piccolo or Flute 1 Bb Cornet 3 Drums _3 3 Oboe 1 Eb Alto Horn 2 Bb Clarinet 4 F French Horn 1 Bassoon _l Trombone 3 7 b E Bass 1 Bb Bass 1 TOTAL: 21 1 SOURCE: Letter from Hideo Tsunekazu, Deputy Director of the Tokyo Shobo Cho Band (Tokyo Metropolitan Fire Department BandY,Tokyo, January 23, 1974. The 23 full-time personnel, which included the 21 musicians, director of the band, and the assistant band director, were hired and were assigned to rehearsals and performances. In addition to the tasks regularly assigned by the Metropolitan Fire Department, the band presented a half-hour program nearly every week over the Nippon Hoso Kyokai, the Japan Broadcasting System, beginning in July, 1949. Other activities included playing free concerts for school children, performing at rallies as part of the fire prevention campaign sponsored by the MetrOpolitan Fire Department, outdoor performances for athletic games, march- ing and outdoor performances for the local community organizations, and performing at meetings of official 20 functions sponsored by other departments of the Tokyo MetrOpolitan government. The Nippon Hoso Kyokai, NHK, was and still is the most influential, non-commercial and sole nationwide radio system in Japan. The system was subsidized by the govern- ment, and was, perhaps, the most popular source of news and entertainment for the average citizen until television was made available to the public. Performances of musical pro- grams over this radio system meant that millions of people throughout the country were exposed to this music. The performances over the Nippon Hoso Kyokai by the Metropoli- tan Fire Department Band were considered to be among its most significant contributions. As shown below a substan— tial amount of literature played by this band was comprised of transcriptions from orchestral literature. Overture to "Marriage of Figaro" Mozart (Arr. J. J. Ehmig) Suite No. 2 from "L'Arlesienne" Bizet (Arr. Finck) Rippana Seinen (March--Fine Young Tetsu Onuma Man) Dance of the Swans and Hungarian Tschaikowsky (Arr. Dance from the Ballet "Swan Lake" Dan Godfrey) Overture to "Light Cavalry" F. von—Suppé (Arr. Dan Godfrey) Overture to "Martha" Flotow (Arr. Winter- bottom) Prelude to "Parsifal" R. Wagner (Arr. S. Kothan) Youth and Vigour (March) W. Lanterschlagen 21 Coconut Dance for Cornet Solo A. Hermann and Band Die Zigeunerin Balff (Arr. Dan Godfrey) Gunkan (March-~Battle Ship) Tokichi Setoguchi L'Estudiantina (Waltz) E. Waldteufel (Arr. L. Stetefeld) Le Pere de la Victoire (Father L. Ganne of Victory) Poet and Peasant F. von Suppé (Arr. J. Gready) Ballet Egyptian A. Luigini (Arr. L. P. Laurendeau) Selections from the Opera G. Verdi (Arr. Dan "La Traviata" Godfrey) Iphigenie en Aulide (Iphigenia Gluck in Aulis) The Mill in the Forest R. Eilenberg As the band continued to grow in size and instru- mentation, a total of 30 instrumentalists were employed by 1950. With this increase, the number of woodwinds out- numbered the brass. This was unusual as Japanese bands have traditionally used more brass instruments than wood- winds. Table 6 shows the instrumentation of the Tokyo Shobo Cho Band in May, 1950. Tokyo Keishi Cho Band (Tokyo Metropolitan Police Depart- ment Band) Another movement to found a professional band was supported by a group of ex-army bandsmen among whom were Yosoji Okada, Shozo Azuma, Satoshi Matsushita, Hajime 22 TABLE 6.--Instrumentation of the Tokyo Shobo Cho Band in May, 1950 (Tokyo Metropolitan Fire Department Band). Woodwinds Brass Percussion Piccolo or Flute 2 Bb Cornet 4 Drums _3 3 Oboe 2 Eb Alto Horn 2 Bb Clarinet 8 F French Horn 1 Bassoon 2 Trombone 4 4 Baritone l Euphonium __k TOTAL: 30 1 SOURCE: Letter from Hideo Tsunekazu, Deputy Director of the Tokyo Shobo Cho Band (Tokyo Metropolitan Fire Department Band), Tokyo, January 23, 1974. Watanabe, Suekichi Nazaki, Takehiko Ozawa, Kiyomasa Yone- yama, and Yososhi Shirokura. The leader of this group was Tsunemitsu Yamaguchi, ex-army bandmaster and former director of the Toyama Army School of Music. The band came into existence in 1949 when it was set up in the Tokyo MetrOpolitan Police Department. Tsunemitsu Yamaguchi, who was instrumental in its formation, was made director of the band, which consisted of 40 full-time personnel. These 40 men received a concentrated training which ranged from study of music theory and solfege to four hours a day of individual and ensemble practice. Table 7 shows the instrumentation of this band in 1949. 23 TABLE 7.--Instrumentation of the Tokyo Keishi Cho Band in 1949 (Tokyo Metropolitan Police Band). Woodwinds Brass Percussion Piccolo 1 Bb Cornet 4 Drums 4 b ‘4 Flute l B Trumpet 3 Oboe l Bugle 1 Eb Clarinet l Eb Alto Horn 2 Bb Clarinet 7 French Horn 2 Bassoon l Trombone 3 Alto Saxophone 1 Baritone 2 Tenor Saxophone__k Euphonium 2 l Eb Bass 2 Bb Bass __l TOTAL: 40 22 SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to RekiShi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), p. 176. According to this instrumentation, the ratio of woodwinds to brass is approximately 2:3. The prototype for such instrumentation was found in the Army Band of 1869, which showed the band to consist of more brass than woodwind instruments. In addition to the more than 20 annual official performances given by the Tokyo Metropolitan Police Depart- ment Band, it initiated the “Wednesday Concerts" in 1949. They were called such as they were held every Wednesday 24 afternoon during the warm season (spring, summer, fall) from one until two o'clock at the open-air stage in Hibiya Park in Tokyo. The concerts, which were co-sponsored by the Department of Administration of Hibiya Park, were provided free to the public, and attracted a great number of people who flocked to and strolled through the park during the lunch break. The concerts still take place, and number no less than 400 from the time of commencement through 1970. As shown below, a number of selections by American composers such as Sousa, Meacham, and Gershwin were being presented by a leading band in Japan as early as 1949. The list shows works performed by the Tokyo Metropolitan Police Department Band during the ninth and eleventh "Wednesday Concerts" in August of 1949. Manhattan Beach (March) J. P. Sousa Selections from "Faust" C. F. Gounod (Arr. Safranke) American Suite T. W. Thurban Overture from "The Marriage W. A. Mozart of Figaro" (Arr. unknown) Boston Serenade (Waltz) R. Drigo Bon Accueil (March) J. Furgeot Light Cavalry Overture F. von-Suppé (Arr. Dan Godfrey) Danube Waves Waltz J. Ivanovici Selections from "Carmen" G. Bizet (Arr. A. Martin) 25 American Patrol F. W. Meacham (Arr. T. Mito) Overture from "Orpheus in the J. Offenbach Underworld" (Arr. M. L. Lake) Selections from "Porgy and Bess" G. Gershwin (Arr. Russell Bennett) Stars and Stripes Forever (March) J. P. Sousa1 The success of the Tokyo Metropolitan Police Band sparked the founding of regional police bands throughout the country, so that no fewer than 30 police bands were in existence by the end of 1952. These bands were found in such regions as Miyazaki, Kyoto, Yamaguchi, Saga, Kagoshima, Kanagawa, Yamanashi, Nara, Hiroshima, Tokushima, Fukuoka, Miyazaki, Gifu, Hyogo, Ehime, Kochi, Nagasaki, Kokyu, Niigata, Nagano, Shimane, and Kumamoto. The majority of these bands engaged approximately 25 to 30 instrumentalists. While everyone in the Tokyo Metropolitan Police Band was assigned to devote his time totally for performance of music, a large percentage of the regional band members were actually employed as both policemen and musicians, thus carrying half-time musical duties. The Bands in the Public School System Another major change brought about by the occupation authority was the legislation of major education reform 1Letter from Hideki Matsumoto, Commander of the Tokyo Keishi Cho Band (Tokyo Metropolitan Police Department Band), Tokyo, February 5, 1974. 26 bills. They had a great impact upon Japanese education, and therefore affected the band movement in both the public schools and colleges. One of the most important bills passed under the guidance of the Supreme Commander for the Allied Powers was the School Education Law of 1948. The School Education Law, which came into effect in March 1948, established the 6-3-3 public school system, replacing the 6-5 system of pre-World War II. The 6-3-3 scheme was modeled after that of the United States. According to this new system, all children were required to attend six years of elementary school and three years of junior high school, beginning at age six and continuing. through age fifteen. No tuition was charged for compulsory education in national or local government schools. An additional three years of education was provided at senior high schools for those who completed the junior high school, and a minimum tuition was charged for these three years of voluntary education. This contrasted with the 6-5 system prior to World War II when only six years of education were required, followed by five years of noncompulsory vocational school. Obviously, the 6-3-3 system made education much more accessible to more Japanese students. The curriculum was revised at this time so that certain areas of musical instruction, which in the past were elective subjects, became required subjects for the first time in the history of education in Japan. All elementary 27 school children and junior high school students were required to take particular music courses. However, the music offerings became elective subjects for senior high school students. These required music courses included the following areas of instruction: singing, music theory, music appre- ciation, recorder, accordion, and piano. Instruction in band and band instruments did not gain the status of a required course, but remained as an extracurricular activity as before World War II, although it was highly encouraged by the Ministry of Education, a national supervisory coun- cil. While the Ministry of Education endorsed the band program, it was only verbal encouragement with no money allocated to help finance such programs in the Japanese schools. Through economic aid from the United States the nation gradually began to recover from the effects of the war. Around the end of the occupation period, at the turn of the fifth decade, basic economic needs for the Japanese citizens began to be filled, and some of the more affluent parents and students began to support such non-curricular activities as athletics and band programs. The school band movement first began sporadically in large metrOpolitan cities such as Tokyo and Osaka, and then spread gradually to smaller cities and local towns. Information concerning these early years is not available, 28 but the 1950 edition (the second edition of the Ongaku- Nenkan, Music Year Book) reported that "more than ten bands in the Osaka area participated in a joint concert in February, 1950 at Asahi Kaikan Hall, Osaka, and twenty-one bands in the Tokyo area participated in a joint concert in November, 1950 at Hibiya Park, Tokyo."1 Most of these bands numbered between 15 and 25, and were generally com- posed of junior and senior high school students. The biggest factor in determining the existence of a band program in each school was the availability of a qualified director already on the teaching staff. If the school did not finance such a program, which was generally the case, the band director, unless he chose to donate his time, would have to rely on financial support from students and parents. Once initiated, the purchase of instruments, related equipment, and maintenance were funded through student activity fees and the Parent-Teacher Association, PTA, within each school. During the early post-war years, most band instru- ments were supplied through the Nippon Kanggkki Seisakusho, the Japan Wind Instrument Manufacturing Company, in Tokyo. It was the largest manufacturer of band instruments in Japan, and with the exception of a few small manufacturers, virtually monOpolized the business in its field. Although lYoshio Hirooka, "Nineteen Fifty Record of Events in the Music World-Band," Ongaku-Nenkan (Music Year Book), Vol. III (December, 1950), p. 43. 29 it manufactured many instruments locally, a small per- centage of Japanese people often chose to import a number of brass and woodwind instruments from England, France, Germany, Italy, and the U.S. because of the superior quality of their instruments. At the same time the Nippon Gakki, Japan Musical Instruments, was the largest wholesale and retail music store in Japan, and soon became the center for handling both foreign and domestic instruments and band music. Although the quality of imported music and methods books was excellent, the language barrier hindered most students from reaping the full benefits from these materi— als. It was soon apparent that there was a need to have more materials available in Japanese to meet the needs of the students. This need was met when Yoshio Hirooka wrote the Suisogaku Gasso Renshusho, Ensemble Method for Band, in 1952. It was published by the Ongaku-no-Tomo Sha in Tokyo. This publication was the first of its kind, and was clearly designed for school bands of small size. The Ensemble Method for Band contained 14 small-sized books and one large conductor's score. The 14 books are for the following parts: Db Piccolo First Bb Trumpet or Bb Cornet C Flute Second and Third Bb Trumpets or B Cornets Bb First Clarinet First and Second Eb Alto Horns 30 b b Second and Third B B Baritone Clarinets Eb Alto Saxophone First and Second C Trombones Bb Tenor Saxophone Bb Euphonium Drums Bb Bassl As can be seen above, such instruments as oboe, English horn, bassoon, E-flat clarinet, E-flat alto clari- net, B-flat bass clarinet, E-flat baritone saxophone, and French horn were not used at this time. In addition to the Ensemble Method for Band, Hirooka also wrote a series of methods books for band instruments which were published by Ongaku-no-Tomo Sha, Tokyo, Japan. They included Piccolo or Flute Method Book, 1948; Clarinet Method Book, 1948; Cornet or Trumpet Method Book, 1948; Trombone Method Book, 1950; E-Flat Alto Horn Method Book, 1952; and Euphonium Method Book, 1952. All of these books were designed for students of elementary level to intermediate level, and were widely adOpted among the school musicians. Ongaku-no-Tomo Sha, the publisher for Mr. Hirooka, is one of the largest and most established publishers of music in Japan, and its output was highly significant and influential for the growth of bands in Japan. 1Yoshio Hirooka, Suisogaku Gasso Renshusho (Ensem- ble Method for Band, (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1952). 31 The College Band Other educational reform bills adopted during the occupation period were the University Establishment Law and the Teachers License Law of 1948. Like the School Education Law of the same year, they made college education more available and easily accessible to the Japanese peOple. As a result of these bills a total of 655 schools, which included universities, colleges, vocational schools, and conservatories, was reorganized into a new system of four-year institutions through amalgamation and revision of programs. Two hundred and twenty new colleges and uni- versities with teacher training facilities were established by 1952 in compliance with the University Establishment Law, and "music teacher training institutions were increased from three schools of pre WOrld War II, to sixty-seven, including ten junior colleges."1 In spite of this major increase in the number of music teacher training institutions, a shortage of band directors still persisted during the years of 1948-1952 primarily due to inadequate facilities at these institu- tions. The impact of these reform bills was, therefore, not fully recognized at this early stage, but was felt more directly after the occupation period. Thanks to the implementation of the University Establishment Law of 1948, Tokyo Ongaku Gakko, Tokyo Academy 1Mita, op. cit., p. 97. 32 of Music, which was a EurOpean style conservatory of music, became a university in April, 1949. This took place as a result of consolidation with the Tokyo Bijyutsu Gakko, Tokyo Academy of Fine Arts, an action which necessitated considerable curriculum revision. This new-born school was named the Tokyo Geijyutsu Daigaku, Tokyo University of Arts, and the first Japanese college band was founded in its Music Department in 1951. The trombone professor at the University, Masato Yamamoto, was instrumental in initiating the band program, and was eventually named as director of the band. Beginning in 1951, Mr. Yamamoto initiated a series of regular concerts twice every year, for which a small admission fee was charged. Although an uncommon practice at the time, the band drew a great number of people. The packed performances took place in Hibiya Kokaido, Hibiya Public Hall, a prestigious auditorium comparable to Carnegie Hall in New York City. The band attracted many people, not only because of its high degree of artistry, but also because it displayed more complete instrumentation than any existing band in the nation. As the band library was very meager in its begin- ning years, it was necessary to borrow much of the music from the Tokyo MetrOpolitan Police Band and other existing bands in Tokyo. This accounted for the number of trans- criptions from orchestral literature as seen in the programs 33 on pages 35 and 36. The first two concerts given by the Tokyo University of Arts Band occurred in 1951 and 1952. Other activities of the band included off-campus concerts and annual tours to many cities outside of Tokyo. However, it never marched on the streets or in the fields. The tour performances by the Tokyo University of Arts Band, the most acclaimed in the country, helped diffuse to many bandsmen the knowledge of available repertoire, and demonstrated the performance level a band was capable of reaching. Depending on the student enrollment and the instrumentation need, the Tokyo University of Arts Band consisted not only of the Music Department students, but of music faculty, music alumni, and other outside musi- cians. The extra musicians were mainly from the Tokyo Fire Department Band, the Tokyo Police Department Band, and various symphony orchestras in Tokyo. The students who participated in the band were all music majors who generally played their principal instruments. The band program at this level was required as part of the regular curriculum. Orchestral instruments such as the harp and string bass were added upon occasion for additional color and texture, a thing not done by any existing band in the nation. Table 8 shows the instrumentation of the Tokyo University of Arts Band in 1951. When the peace treaty between the United States and Japan became effective in 1952 and sovereignty was returned 34 TABLE 8.--Instrumentation of the Tokyo Geijyutsu Daigaku Band in 1951 (Tokyo University of Arts Band). , Percussion WOodwinds Brass and Other Flute and Piccolo 7 Cornet or Trumpet 13 Tympani 1 Oboe 2 French Horn 5 Percussion 5 Bassoon 2 Trombone 5 String Bass 4 b 10 E Clarinet l Baritone 2 Bb Clarinet 11 Euphonium 2 b Alto SaXOphone 2 B Bass 2 29 Tenor Saxophone 2 27 TOTAL: 66 SOURCE: Letter from Kazumoto Yoshida, librarian of the Tokyo Univer- sity of Arts, Tokyo, November 26, 1973. to the Japanese people, the country seemed to be a far better place in which to live than during the previous five or six years. The transition from occupation to inde- pendence was now under way in Japan, but the Japanese dependence upon the United States, though sharply reduced, was not entirely eliminated in the economic and military spheres. The Constitution and laws of Japan had been revised, the military power of Japan had been destroyed, wealth and power were redistributed, and university edu- cation was now more readily available to the Japanese people. 35 TOKYO UNIVERSITY OF ARTS BAND Masato Yamamoto, Conductor October 17, 1951 Overture to "Light Cavalry" Gold and Silver . . . . Star Dust . O O O O 0 America no Byosha . . . Dance of the Hours . . . The Nutcracker Suite . . Symphony No. 8 . . . . Athletic Festival March 0p. Hungarian Dances Nos. 5 and The Glass Slipper . . . 61, PROGRAM ......Suppé (Arr. Moses and Tbbani) . . . . . . Lehar . . . H. Carmichael (Arr. P. deer) . . . Kbichi Kawabe . . . Ponchielli (Arr. Carl Mbrino Revised 3. Katz) . . . . Tchaikowsky (Arr. M. L. Lake) . . . . . Schubert (Arr. Moses and Tbbani) . . . . . Prokofiev (Arr. R. F. Goldman) . . . . . . Brahms (Arr. N. Simrock) . . . . . P. YOder 36 TOKYO UNIVERSITY OF ARTS BAND Masato Yamamoto, Conductor June 26, 1952 PROGRAM Alt Kameraden (March--Old Comrades) . . . . . . . . . Teike EspanaWaltz. Waldteufel (Arr. F. H. Greissinger) Introduction to Act III and Bridal Chorus from "Lohengrin" . . . . . . . . . . . Wagner (Arr. for military band by F. Winterbottom) Finlandia O O 0 O O 0 O O 0 O 0 C 0 0 0 0 0 Sibelius (Arr. F. Winterbottom) American Patrol . . . . . . . . . . . . . F. W. Meacham Selections from ”The Merry Widow" . . . . . . . . . F. Lehar (Arr. Dan Godfrey) Hungarian Rhapsody No. 2 . . . . . . . . . . . . F. Liszt Saint Louis Blues March . . . . . . . . . . . W. C. Handy sea Medley O O O O O O O O O O O O O O O . Philip Rag Overture to "Calif of Bagdad" . . . . . . . . A. Boieldieu (Arr. J. P. Ehmig) Grand March from "Tannhauser" . . . . . . . . . . Whyner (Arr . unknown) 1Letter from Kazumoto Yoshida, librarian of the Tokyo University of Arts, Tokyo, November 16, 1973. CHAPTER III A HISTORY OF THE BAND IN JAPAN AFTER THE OCCUPATION PERIOD (1953-1961) Role of the Japanese Publishers of Band Music Kyodo Ongaku Shuppan Sha (Kyodo Music Publishifig Company) After the occupation period, Kyodo Ongaku Shuppan Spo (Kyodo Music Publishing Company) of Tokyo emerged as one of the pioneers in the field of publishing band music in Japan. Out of the 40 works published as early as 1953, 10 were American marches. This group of marches included works such as Stars and Stripes Forever, Washington Post, The Thunderer, Belle of Chicago, High School Cadet, and Fairest of the Fair by John Phillip Sousa. Also published at this time were marches by Japanese composers including Kimigayo March by Kozo Yoshimoto, Rippana Seinen (Fine YoungAMan) by Kazuo Mizushima, and Gunkan (Battle Ship) by Tokichi Setoguchi. A more complete list is shown below. LIST OF MUSIC PUBLISHED BY THE KYODO ONGAKU SHUPPAN SHA BY 1953 (Kyodo Music Publishing CompanYT CHARACTER TITLE COMPOSER-ARRANGER March Kimigayo (Thy Era) Kozo Yoshimoto March Under the Double Eagle Joseph Wagner 37 CHARACTER March Waltz Tango March Fantasy Fantasy March March March March Potpourii Medley March Waltz March March March March March March March 38 TITLE Rippana Seinen YFine Young Man) Cuckoo La Cumparsita Stars and Strips Forever Kojo-no-Tsuki (Moon Above a Ruined Castleii Blacksmith in the Forest Gireikyokushu (Anthology Of Music for Official Ceremonies) Washington Post The Thunderer Belle of Chicago Down Main Street Tanoshiki Omoide Songs of Stephen Foster Akai Tsubasa (Red Wing) Blue Danube High School Cadet Father of Victory Indiana State Band A. Frangesa American Patrol Queen of the Fair With Sword and Lance COMPOSER-ARRANGER Kazuo Mizushima Jonathan G. Rodriquez J. P. Sousa Rentaro Taki (Arr. T. Mito) Michaeles (Arr . Yotei Hagiwara) J. P. Sousa J. P. Sousa J. P. Sousa Weidt (Arr. T. Mito) (Arr. T. Mito) (Arr. T. Mito) J. Strauss J. P. Sousa Gustave Ganne O. R. Farrar P. M. Costa F. W. Meacham Fred K. Huffer Starke 39 CHARACTER TETEE COMPOSER-ARRANGER Serenade La Paloma C. Yradier March La Sorella Clark March Military March No. 1 F. Schubert Dance Hungarian Dance No. 5 Brahms March Fairest of the Fair J. P. Sousa March Anchors Away Zimmerman Waltz Gold and Silver Lehar (Arr. T. Mito) Waltz Carmen Silver Ivanovici Selections from the Lehar "Merry Widow" Polka Beer Barrel Overture Calif of Bagdad Boieldieu Waltz Over the Waves Rosas Fantasy Hamabe no Uta Tamezo Narita iSong of the Beach) (Arr. T. Mito) March Gunkan (Battle Ship) Tokichi Setoguchi March Old Comrades Carl Teike Overture La Croix D'honneur Calibert 1 (Arr. T. Mito) Table 9 shows the instrumentation used in most of the works listed above. 1Taro Kunieda, ”List of Music Published by Kyodo Music Publishing Company," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), Vol. III (DecemBer, 1953), P. 4. 40 TABLE 9.--Typical Instrumentation for Compositions Pub- lished by the Kyodo Ongaku Shuppan Sha (Kyodo Music Publishing CompanY): 1953. Woodwinds Brass Percussion Flute or Piccolo First, Second, or Third Drums B Cornet or Trumpet Eb Clarinet First, Secong, Third and Fourth E Alto Horn First, econd and First and Second Trom- Third B Clarinet bones (bass clef) Eb Alto SaXOphone Duplicate parts for First and econd Trom- bones in B (treble clef) Bb Tenor Saxophone Third Trombone (bass clef) Bb Baritone Euphonium (bass clef) Duplicate Partbfor Euphonium in B (treble clef) b E Bass Bass Condensed Score b for Conductor Duplicate Part for Bass in B SOURCE: Letter from Taro Kunieda, President of K Odo Opgaku Shuppan Sha (Kyodo Music Publishing Com- pany}. Tokyo, April 29, 1974. 41 In reference to the works published in 1953, a number of parts were duplicated by transposing them up a major second or a major ninth. An extra part for bass in Bb was an exact duplication of the original bass part written in C, but it was transposed up by a major second from the original one while extra parts of first and sec- ond trombones in Bb and euphonium in Bb were exact dupli- cations of the original corresponding parts transposed up by a major ninth. There were a number of reasons why these duplica- tions of parts were needed at this time. First of all, both the Army and Navy systems of notation still remained without changes since their inception before World War II. Consequently, every band director used either of the sys- tems according to his Army or Navy background. The Kyodo Music Publishing Company therefore compromised in order to cope with the demands from both sides. This was handled by duplicating the bass part so that the bass players of the Army training could make use of the Bb bass part while those of the Navy training could make use of the bass part. Secondly, those duplicate parts made it possible for a school band to make a quick adjustment needed in achieving better balance and more complete instrumentation whenever a turnover occurred. For example, once a student learns how to play one of four instruments, baritone, euphonium, Eb bass or Bb bass, then he can easily switch to one of 42 the other three instruments, if and when necessary, as four of those instruments call for identical fingering. Still another reason for using duplicate parts for the first and second trombones in treble clef is the fact that valve trombones remained in use before, during, and after World War II. If and when the valve trombones were used, it was usually a baritone, euphonium, or trumpet player who switched to this instrument. Mr. Tomoaki Mito, chief arranger and editor for the 40 pieces published by the Kyodo Music Publishing Company, commented and justi- fied his philosophy by stating that: No other country in the world but Japan practices [a] multiple system of notation, one dominated by the Navy and the other by the Army. From the publisher's point of view, it is economical and practical to adopt a non-transposing system which is exercised among Navy Bandsmen as it requires a lesser number of parts to print. And yet, for school bands the Army transposing system is advan- tageous. That is why the band music published by the Kyodo Music Publishing Company contains dupli- cating parts which are transposed up a major second or a major ninth. I feel the future of the system of notation should be geared gradually towards the practice adopted in the United States, England, Italy and Germany where the non-transposing system is practiced, especially due to the fact that the majority of imported music comes from the United States where a non-transposing system is already established. Still another contribution made by the Kyodo Music Publishing Company was the publication of the now defunct lTomoaki Mito, "Question and Answer," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), Vol. II (November, 1953), p. 2. 43 Gekkan Suisogaku Kenkyp (Monthly Band Research Journal), which was inaugurated in October, 1953, with Tomoaki Mita as editor-in-chief. This monthly periodical provided subscribers with a variety of news and information. Included was news of the bands in Japan and abroad, nota- tion and instrumentation of bands, interviews with leading band directors, review of band concerts and published materials for band, methods of band and band instruments, and activities of leading bands. Since this was the only available source of news and information about Japanese bands, the Monthly Band Research Journal enjoyed this monopoly without any competitor until the time of the first publication of the Band Journal published by Ongaku- no-Tomo Sha in 1959. Ongaku-no-Tomo Sha (Friends of Music Company) Although Ongaku-no-Tomo Sha has been one of the most influential, active, and major publishing companies for music in Japan before and after World War II, it never made a significant move toward the field of band music until 1958. In that year with the publication of 20 pieces for band by American, European, and Japanese composers, the company made clear a major change in this policy. These compositions and composers are listed on pages 44 and 45. CHARACTER March March March March March March March March March March March March March Novelty Fantasy Waltz Serenade 44 LIST OF MUSIC PUBLISHED BY ONGAKU-NO-TOMA SHA, 1958 (Friends of Music Company) TITLE To the Front Captain Pioneer Steadfast and Faithful Wellington Tom Tough Jubilant Turkish March Aozora Takaku (High in Blue Sky) Sora no Oja (Kipg of the Sky) Funeral March Kimigayo (Thy Era) Gunkan (Battle Ship) Birthday In a Clock Store At the Brook, Op. 52 Cuckoo Waltz Pansie Serenade COMPOSER-ARRANGER P. O. Hume Harold Bennett Carl Teike W. Zehle Binding V. Turine (All of the above were transcribed by a special committee of the All-Japan Band Contest.) Beethoven (Trans- cribed by Yamaguchi) Zenji Fukami Zenji Fukami Chopin (Transcribed by Yamaguchi) Kozo Yoshimoto Tokichi Setoguchi Byle (Transcribed by Yamaguchi) C. Orth De Boisdeffre Jonathan (Transcribed by Yamaguchi) McBeth (Transcribed by Yamaguchi) 45 CHARACTER TITLE COMPOSER-ARRANGER Polka Gaisen (Triumph) Jyuzaburo Yamamoto Polka Clarinet Polka (Transcribed by Yosaku Suma) Gallop Comedions GallOpr Kabalevsky (Trans- from "The Comedians" cribed by Yamaguchi) The instrumentation for this music is shown in Table 10. The Ongaku-no-Tomo Sha also instigated the first publication of the Band Journal, a monthly magazine for the band, in October, 1959, and still maintains its publication to date. The Band Journal carries similar articles to that of its competitor, the Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), published by the Kyodo Music Publishing Company. The philosophy of the Band Journal was research-oriented rather than journalistic while the Monthly Band Research Journal was just the opposite. Rise of Service Bands and American Influence The transition from occupation to independence was fully underway in 1951 when the Peace Treaty was signed in San Francisco by 48 nations. Since the Chinese were not invited to the Conference and the Russians abstained from 1Sansaku Meguro, Ongaku-no-Tomo Sha Nijyugonen no Ayumi (Twenty-Five Years History of Ongaku-no-Tomo Sha PubliShing Co.), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1966). PP. 120, 126. 46 TABLE lO.--Instrumentation of Band Music Published by Ongaku-no-Tomo Sha in 1958 (Friends of Music Company. Woodwinds Brass Percussion Db Piccolo Solo, First6 Second, Drums and Third B Cornet C Flute or Piccolo First, Second, Third Bell—Lyre Eb Clarinet First, Second, and Third Bb Clarinet First and Second Eb Alto Saxophone Bb Tenor Saxophone Condensed Score for Conductor and Fourth Eb Alto Horn First, Second, and Third Trombone Baritone Euphonium Eb Bass C Bass Bb Bass SOURCE: Letter from Toru Furukawa, Editor of Ongaku-no-Tomo Sha (Friends of Music Company), Tokyo, June 14, 1974. attending, the hostility of the Communist world made the future of unprotected Japan most precarious. However , the security problem was solved by the presence of the United States Armed Forces in Japan while the Japanese provided continuation of American military bases on their soil after 1951. The political and economic development which took place in Japan from 1952-1954 made it possible for the Japanese to gradually take over the burden of 47 their own defense. One of the efforts made by the Japa- nese government was to develop and enlarge the Keisatsu Yobitai (National Police Reserve) and the Kaijo Hoancho (National Coast Guard). When legislators ratified the Mutual Security Act signed between the governments of the United States and Japan in 1954, both the National Police Reserve and the National Coast Guard were reorganized into the Rikujo Jieitai (Self-Defense Army) and the Kaijo Jieitai (Self-Defense Navy) during the same year. With this reorganization, the Self-Defense Army and Navy Bands were simultaneously created. The 71-piece Self-Defense Army band was headed by ex-Army bandmaster Yosaku Suma, while the 34-piece Self-Defense Navy Band was led by ex-Navy bandmaster Minoru Takayama. Seven years later, in 1961, a 40-piece band was founded in the Air Force division and led by ex-Army bandmaster Hideki Matsumoto. These bands were large units according to Japanese standards, and established good reputations as concert organizations. All of these bands were, of course, tax supported, concertized extensively in and out of Tokyo, and wore uniforms of their respective branches. The bands contained instrumentation as listed in Tables 11, 12, and 13. The Self-Defense Army Band reluctantly adopted the Navy system of notation, identical to that practiced in the United States, which treated the euphonium and bass as 48 TABLE ll.--Instrumentation of the Self-Defense Army Band in 1954. WOodwinds Brass Percussion b Piccolo and Flute 3 B Cornet or Bugle Tympani 1 Oboe 2 Bb Trumpet 4 Drums _§_ Eb Clarinet 3 Eb Alto Horn or French 6 Bb Clarinet ll Horn 6 Eb Alto Saxophone 3 Trombone 6 Bb Tenor Saxophone 3 1tone 4 b E Baritone Saxophone 2 Egphonium 4 b B Bass Saxophone 1 B Bass -£- -——- 6 28 TOTAL: 70 Source: Tomoaki Mito, ”The Self-Defense Army Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal).Vo1. XV (January, 1955)! Po 3. TABLE 12.--Instrumentation of the Self-Defense Navy Band in 1954. WOodwinds Brass Percussion Piccolo and Flute l Bb Cornet 4 Tympani 1 Oboe 1 Bb Trumpet 2 Drwms _2_ Bassoon l Eb Alto Horn 2 3 Eb Clarinet 1 F French Horn 1 Bb Clarinet 7 Trombone 3 Eb Alto SaXOphone l Baritone l Bb Tenor SaXOphone 1 Euphonium 1 Eb Baritone Saxophone__i Eb Bass 1 l4 Bb Bass __2_ 17 TOTAL: 34 SOURCE: Letter from Yoshio Ite, Officer of Information of the Self- Defense Navy Band, Tokyo, April 8, 1974. 49 TABLE l3.--Instrumentation of the Self-Defense Air Force Band in 1961. WoOdwinds Brass Percussion Piccolo and Flute 1 Bb Cornet 1 Drums ‘_3 Oboe 1 Bb Trumpet 4 3 Eb Clarinet 1 F French Horn 3 Bb Clarinet 7 Trombone 4 Eb Alto Saxophone 2 Euphonium 3 Bb Tenor Saxophone 2 Eb Bass 2 Eb Baritone Saxophone __i_ Bb Bass __g 18 19 TOTAL: 40 SOURCE: Letter from Takanoubu Saitoh, Commander of the Self-Defense Air Force Band, Tokyo, April 11, 1974. transposing instruments, instead of retaining the tradi- tional Army system. With this action, the 83-year-old dispute over the two systems of notation came to an end, as other bands in Japan began to follow suit.1 Besides adOpting the method of notation from the Uni- ted States, the leading Japanese service bands began playing works by American composers as early as 1954. The following two programs presented by the Army and Navy-Self Defense Bands show works written by such men as Harold Walters, Henry Filmore, R. F. Goldman, and George Gershwin. The pro- grams were indicative of adefinite influence from the United States ontfluarepertoire performed by the Japanese bands. 1Yoshio Hirooka, "Nineteen Fifty-Four Record of Events in the Music WOrld--Band,” Ongaku-Nenkan (Music Year Book, Vol. VII (December 1954), p. 18. 50 SELF-DEFENSE ARMY BAND Ybsaku Suma, Commander and Conductor Hideki Matsumoto, Deputy Commander and Conductor August 26, 1954 PROGRAM Footlifter March - - - . - . . - - . . . . Henry Filmore Danube waves waltz - - . . . . . . . . . . . - Ivanovici Symphony No. 8 (Unfinished) - . . . . . - . - . - SChubert First MOvement INTERMISSION Old Glory Forever March - . - . . . - - . - R. F. Goldman Babataku Hato (Flying Pigeon) - . . . . . . . - Ybsaku Suma Selections from "Porgy and Bess" - - . . - . . - G. Gershwin tittiid’tttt SELF-DEFENSE NAVY BAND Minoru Takayama, Commander and Conductor Masami Katayama, Deputy Commander and Conductor September 11, 1954 PROGRAM Coronation March . . . . . . . . . . . . . . Kretzschmar Espanore . . . . . . . . . . . . . . . . . Masceroni A Night at the Ballet . . . . . . . . . . . Harold walters I NTE‘RMI 551 ON Pomp and Circumstance . . . . . . . . . . . . . . Elgar Overture from "Tancredi" . . . . . . . . . . . . Rossini (Arr- Kappey) Ballet Egyptian . . . . . . . . . . . . . . . Luigini (Arr. D. Bennett) lYoshio Hirooka, "Nineteen Fifty-Four Record of Events in the Music WOrld--Band," Ongaku-Nenkan (Music Year Book), Vol. VII (December 1954), p. 19. 51 Instrumentation and Repertoire of the Visiting United States Service Bands to Japan There were several minor American service bands stationed in Japan after World War II and up to 1956, but their influence was not significant. The first major American band heard by the Japanese public was the United States Air Force Band under the direction of Colonel George 5. Howard in 1956. The band made a total of three trips to and from the Far East, including Japan. The first occurred in 1956, the second in 1957, and the third in 1960. The first tour in 1956 included a visit to major cities such as Tokyo, Yokohama, Nagoya, Kyoto, Osaka, Hiroshima and Fukoaka. The tour was very successful, and the performance of the band was superior. The reception of the public was overwhelming so that ". . . fifteen thousand people packed a six thousand capacity hall at a concert in Kyoto."1 The pieces played by the band covered a wide range of medium, form, style, and period as shown on the following page. Critics, band directors, and the general public raved about the performances of the visiting American band, with especially complementary comments upon the choice of lTomoaki Mito, "Interview with Colonel Howard,” Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), Vol. XXXII (Juner-July 1956), p. 3. National Anthems 52 Overture to the Opera "Mignon" . . VOcal Solo--L'Arlesiana MSGT William DuPree, Tenor Soloist Three Musical Paintings 1. Persistence of Memory 2. At the MOulin Rouge 3. L'Absinthe Trumpet Trio-~Bugler's Holiday . . MSGT Arthur Will, TSGT Jack Tardy, Dawn Breaks at a Shinto Shrine . . The Singing Sergeants Selections-eAmericans TYPICAL PROGRAM Far East Tours . . Ambroise Thomas . . Francesco Cilea (Arr. Floyd werle*) . . . Henri Rene (Arr. Floyd wer1e*) Leroy Anderson SSGT Legh Burns Captain Robert L. Landers, Director Swanee Red River Valley St. Louis Blues UIIkWMH La Fiesta Mexicana . . Swing Low Sweet Chariot Battle Hymn of the Republic INTERMISSION 1. Prelude and Aztec Dance 2. Mass 3. Carnival Harp Solo--Chanson d'Nuit . TSGT Phillip YOung--Soloist Sleigh Ride . . . . A Bit of Scotland TSFT George Lucas, Airman Four Contrasting Marches . Colonel Bogey (England) . . l 2. Fleiger (Germany) 3. Akebono (Japan) 4. Stars and Strips Forever (American) The Singing Sergeants Captain Robert L. Landers, Director 1. U.S. Air Force Hymn 2. Serenade from "The Student Prince" MSGT William DuPree, Tenor Soloist Urato Watanabe (Arr. Robert Cray*) . H. Owen Reed Maurice Ravel (Arr. Floyd WErle*) Leroy Anderson William Logan, Soloists enneth Alfbrd Hermann Dostal (Arr. Robert Cray*) . John Philip Sousa . . . Mary Baker (Arr. Ivan Genuchi*) . . Sigmund Romberg (Arr. Floyd Werle*) *Member, the USAF Bandl 1George S. Howard, The Big Serenade (lst ed.; Evanston: Instrumentalist, 1961), p. 237. 53 selections. Oishi, editor of the Band Journal, said, "The performance of the band was superior, perfect in tech- nique, refined musically, and the band showed us a new direction in regards to how to present a good program by including a mixture of vocal and instrumental ensemble 1 numbers as well as original works for the band medium." The Music Year Book editor, Akiyama, stated that "The con- cert at Sankei Hall, Tokyo, on April 18 was a wonderful experience for all those who attended. The band not only displayed fine ensemble and rich sonority but also per- 2 "The perform- formed works of well orchestrated scores." ance of the band was outstanding and a wide variety of selections ranging from classical numbers to jazz was 3 was the com- enthusiastically accepted by the audience," ment of the editor-in-chief of the Gekkan Suisegaku Kenkyu (Monthly Band Research Journal), Mito. The Japanese noted the unusual and unique instru- mentation of the United States Air Force Band, which included six cellos and no saxophones. However, this instrumentation neither encouraged the use of the cello lMeguro, Suisogaku-Koza (Lectures on Band), Vol. VII, op. cit., pp. 197-198. 2Toshio Akiyama, "Nineteen Fifty-Six Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), Vol. IX (December, 1956), P. 13. 3 Tomoaki Mito, op. cit., p. 3. 54 nor discouraged the use of saxophones in the future instrumentation of the Japanese bands. The ratio of woodwinds against brass instruments was 14:13. The complete instrumentation is shown in Table 14. Another band which toured Japan in May and June, 1958, was the United States Army Field Band which was stationed in Washington, D.C. Cities included on this tour were Tokyo, Yokohama, Camp Zama, Okinawa, Itazuke, Fukuoka, Yawata, Hiroshima, and Nikko. The tour was very success- ful; Master Sergeant and Administrative Assistant of the band Dominick Macaluso said: TABLE 14.-—Instrumentation of the United States Air Force Band in 1960. Woodwinds Brass Other Piccolo and Flute 5 Cornet and Trumpet 8 Cello 6 Oboe 2 French Horn 6 String Bass 6 English Horn 1 Baritone 3 Percussion 5 Bb Clarinet l6 Tenor Trombone 4 Harp 1 18 Bass Clarinet 1 Bass Trombone 2 Bassoon 2 Tuba 3 26 Contra Bassoon 1 28 TOTAL : 7 2 SOURCE: Toshio Akiyama, Sukurubando rm) Shido to Unei (Teaching and Administrating School Bands), (9th ed.; Tokyo: Ongaku-no- Tomo Sha), p. 122. 55 The intangible in every concert was the rapport that existed between the stage and the audience. The traditional politeness was always evident but on stage you could sense more than that. You could feel the communication between musicians and audi- ence. We received many standing ovations and people came backstage after each performance and expressed their feelings to us." Page 56 shows one of the programs they gave on tour, June 2, 1958. The instrumentation of the United States Army Field Band is given in Table 15. TABLE 15.--Instrumentation of the United States Army Field Band in 1960. Wbodwinds Brass Other Piccolo and Flute 3 Cornet and Trumpet 10 String Bass 4 Oboe 2 French Horn 8 Percussion __§_ 10 English Horn 1 Baritone and Euphonium 3 Bassoon 3 Trombone 8 Bb Clarinet 14 Tuba __2_ Bass Clarinet 1 33 Contra Bass Clarinet 1 Saxophone 5 TOTAL: 73 SOURCE: Richard Franko Goldman, The Wind Band (lst ed.; Boston: Allyn and Bacon, Inc., 1961). p. 106. 1A letter from Master Sergeant Dominick Macaluso, Administrative Assistant of the United States Army Field Band, Washington, D.C., April 25, 1974. 56 UNITED STATES ARMY FIELD BAND Major Chester E. Whiting, Commanding Officer and Conductor June 2, 1958 PROGRAM Presentation of the National Anthems of Japan and the United States Sabre and Spurs March . . . . . . . J. P. Sousa Mass from "La Fiesta Mexicana" . . . . . Owen Reed Buglers Holiday . . . . . . . . Leroy Anderson Musica Sympatica . . . . . . . . Maurice Gardner Tulsa . . . . . . . . . . . . . . Don Gillis Tico Tico . . . . . . . . . . . . Z. Abreu On the Trail . . . . . . . . . . Ferde Grofe The Four Hits (Vocal Quartet) American Division March . . . . . . Chester Whiting Passion in Paint . . . . . . . . . . Henri Rene Poinciana . . . . . . . . . . . . Nat Simon Gymnastics in Rhythm . . . . . . . Chester Whiting Soldiers Chorus . . . . . . . . . . . . Salute to Sigmund Romberg Riff Song One Alone Stout Hearted Men Drinking Song Serenade Finale: Band and Chorus Stars and Strips Forever . . . . . J. P. Sousa Kings of the Highway . . . . . . . . . Burt 1Toshio Akiyama, Sukurubando no Shido to Unei (Teaching and Administrating School Bands), (9th ed.; Tokyo: Ongaku-no—Tomo Sha), p. 122. 57 The Japanese again noted the inclusion of a number of string basses in the United States Army Field Band, a practice similar to that of the United States Air Force Band in its past tours to Japan. Resumption of the All-Japan Band Contest and the School Band Movement After a lapse of 13 years due to World War II, the All-Japan Band Contest resumed in 1956 under the sponsorship of the All—Japan Band Association. It was part of the association's promotional activity for amateur bands, and is held annually. The contest was co-sponsored by the Asahi Shimbun Sha (Asahi Newspaper Company), Tokyo, Japan, which donated both money and publicity. The contest was set up at two different levels, divisional and national. To begin with, the Japan Band Association sponsored separate divisional contests, and the top winning bands were ranked first, second, and third in each division. The first ranked bands of all divisions then entered the national-level contest, and were again ranked first, second, and third. Both divi- sional and national contests were open to four classes of bands during the 1956-1960 period: junior high school bands, senior high school bands, industrial bands, and college or other bands. In the 1961 contest, a fifth classification was added so that college and other bands entered separately. At both level contests, divisional 58 and national, every band was evaluated individually on its performance of two compositions, a required piece assigned to all bands in each class, and a composition selected by the participant. Because of these contests, many amateur bands in Japan were formed, and grew both in quality and quantity. The junior and senior high school bands greatly increased in number and instrumentation, improving as well in the quality of performance. The ranking at divisional and/or national-level contests offered a strong incentive for school officials to provide funds for bands, give them more rehearsal time, and hire competent directors to lead them. The directors in return achieved better instrumentation, played more worthwhile music, and raised their hands to a remarkable level of technical and musical proficiency. The public comparison of bands by nationally famous bandmasters or recognized authorities in school music also stimulated constant improvement. This, together with the attention from the contests, caused school offi- cials, parents, and students alike to look upon band music as an integral part of education. Consequently the move- ment grew, and statistics in a study made by the Japan Wind Instrument Manufacturing Co., Tokyo, in 1961 revealed that "twenty-eight percent of the junior high schools and 59 fifty-two percent of the senior high schools in Japan have a band of one kind or another."1 Both the required piece and the selected piece at the national-level contests were challenging, worthy to be played, and displayed the caliber of music to which jury members hoped bands would aspire. The required pieces for junior and senior high school bands, as shown in Table 16, were all marches, and indicated that seven out of twelve required pieces in these two classi- fications from 1956 through 1961 were marches written by American composers. They were Military Escort March and Pivot Man March by Harold Bennett, March "R.M.B." by Ralph Jarrett, The Little Giant by H. Moon, Skyyays by Paul Yoder, The Booster March by J. G. Klein, and Jubilee Mopok_by R. Franko Goldman. Table 16 shows a complete list of works performed in the respective years. While the panel of jury members neither assigned nor recommended any specific instrumentation, it limited the participating bands to a maximum of 40 performers per band at the national-level contests. This was done in part to limit the expenses for travel and living while engaging in the contests, which were subsidized by the sponsors. This number also was a realistic goal for various schools to try to achieve for their bands. However, it is 1Toshio Akiyama, "Nineteen Sixty-One Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), Vol. XV (December 1962), p. 73. 60 TABLE 16.--Required Pieces Assigned to All Junior and Senior High School Bands at the All-Japan Band Contest, 1956 Through 1961. Year Title Composer-Arranger Junior High School Bands 1956 1957 1958 1959 1960 1961 Tom Tough Military Escort March Captain Pioneer March March "R.M.B." The Little Giant March The Booster March Senior High School Bands Binding Harold Bennett Harold Bennett (Arr. Toshio Akiyama) Ralph Jarrett H. Moon J. G. Klein 1956 Smile of Flowers Campbell 1957 With Sword and Lance March Hermann Starke 1958 To the Front March James Hume 1959 March Shukuten (Festival) Ikuma Dan 1960 Skyways March Paul Yoder 1961 Jubilee March R. Franko Goldman SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), p. 212. 61 fair to assume that the first-ranking bands presented the best possible instrumentation available within their means at these contests. Tables 17, 18, and 19 show the instru- mentation of the first-ranking school bands, 1957 through 1959. The required compositions demanded a balanced assortment of instruments and skill in execution which some of the bands did not possess at the time. Progress toward achieving better instrumentation came when schools began to purchase instruments, including those which were usually too large or expensive to buy. Such an example may be found in the makeup of the Imazu Junior High School Band, first-ranking junior high school band in the 1961 All-Japan Band Contest, as shown in Table 20. TABLE 17.--Instrumentation of Gamagori Junior High School Band, First- Ranking Junior High School Band in the 1957 Contest. Wbodwinds Brass Other Flute and Piccolo 2 Bb Cornet or Trumpet 6 Cymbals 1 Bb Clarinet 9 Alto Horn 4 Snare Drums 2 Eb Alto Saxophone l Baritone 2 Bass Drum _i_ Bb Tenor Sax0phone __i_ Euphonium l 4 l3 Trombone 4 Eb Bass 2 Bb Bass __1_ TOTAL: 37 20 SOURCE: Tbshio Akiyama, Sukurubando no Shido to Unei (Teaching and Administrating School Bands, (9th ed.; Tokyo: Ongaku-no-Tomo Sha, 1973)! p0 140. 62 TABLE 18.--Instrumentation of Tenri Senior High School Band, First- Ranking Senior High School Band in the 1957 Contest. WOodwinds Brass Percussion Flute and Piccolo 2 HP Trumpet or Cornet 6 Tympani l Oboe l Alto Horn 4 Cymbal 1 BP Clarinet 8 Baritone 2 Snare Drums 1 Eb Alto Saxophone 2 Euphonium 2 Bass Drum _i_ 4 Eb Tenor Saxophone 1 Trombone 4 b . Eb E Baritone Saxophone 1 Bass 2 15 Eb Bass 1 TOTAL: 40 21 SOURCE: Toshio Akiyama, Sukurubando no Shido to Unei (Teaching and Administrating School Bands), (9th ed.; Tokyo: Ongaku-no- Tomo Sha, 1973). p. 140. TABLE 19.-~Instrumentation of Ohmiya Kogyo Senior High School Band, First-Ranking Senior High School Band in the 1959 Contest. WOodwinds Brass Percussion Flute and Piccolo 2 Bb Cornet or Trumpet 5 Drums 2 Eb Clarinet 1 French Horn 5 Tympani _i_ 3 Bb Clarinet ll Trombone 4 Alto SaXOphone 1 Baritone 4 Tenor Saxophone 1 Bass 2 20 Baritone Saxophone 1 17 TOTAL: 40 SOURCE: Letter from Toshio Akiyama, former band director of the Ohmiya Kogyo Senior High School Band, Ohmiya, Saitama, Japan, April 17, 1974. 63 TABLE 20.--Instrumentation of the Imazu Junior High School Band, First-Ranking Junior High School Band in the 1961 Contest. Woodwinds Brass Percussion Flute and Piccolo 3 Bb Trumpet l Tympani and Drums _3 Oboe 1 C Trumpet 2 3 Eb Clarinet 1 Eb Bugle l Bb Clarinet 9 Bb Bugle 1 Alto Clarinet 1 Eb Alto Horn 1 Bass Clarinet 1 French Horn 4 Contra Bass Clarinet 1 Trombone 2 Alto Saxophone 1 Bass Trombone l Tenor Saxophone l Baritone 1 Baritone Saxophone 1 Euphonium l 20 Eb Bass 1 Bb Bass __i_ TOTAL: 40 17 SOURCE: Letter from Takeshi Tokutsu, band director of the Imazu Junior High School Band, Nishinomiya, Hyogo, Japan, April 15, 1974. CHAPTER IV A HISTORY OF THE BAND IN JAPAN DURING THE PERIOD OF GREAT MUSICAL STRIDES (1962-1966) New Movement to Promote Japanese Composers of Band Music A Move by the All-Japan Band Association One of the most important moves ever made by the All-Japan Band Association after World War II was the decision, taken in 1962, to encourage Japanese composers to write works for band. Even though there was ample music available, the association felt the need for more and better compositions written by Japanese composers. This movement incorporated three phases: first, to commission Japanese composers to write for band; second, to publish their works; and third, to have them performed as assigned works by all participants at the 1962 A11- Japan Band Contest. Through this action the association hoped to offer incentives to composers, and except for 1965, this practice has taken place every year to date. The exception in 1965 was due to the appointment of new Selection Committee members who were unable to meet the deadline in screening native composers and their works. 64 65 The association, therefore, chose the following required pieces as substitutes: Tiara Overture by Frank Cofield for junior high school bands; Paris and Helena Overture by Gluck (arranged by Barnes) for senior high school bands; and Symphonic Prelude by Alfred Reed for college and other bands. Although the All-Japan Band Assocation could not boast of one hundred percent membership from the bands throughout the country, nor complete participation by member bands to the contests, nevertheless, the associ- ation was the largest and most powerful organization of its kind in Japan to promote the band movement. Table 21 gives the names and related information of the schools which took part in the 1962 All-Japan Band Contest. As Table 21 shows, 335 out of 651, or roughly 51 percent of the participating bands at the 1962 contest, were those from the junior high schools, while 252, or roughly 39 percent, were senior high school bands. Com- bined, they constituted 90 percent of all the participants. According to Toshio Akiyama, "the interest of school bands towards the assigned works of the contests became so pOpu- lar that no sooner had music been on sale than it was sold out."1 1Toshio Akiyama, "Nineteen Sixty-Five Record of Events in the Music World-~Band," Ongaku-Nenkan (Music Year Book), Vol. XVIII (December 1965), p. 64. 66 TABLE 21.--Participating Bands at the 1962 All—Japan Band Contest. Junior Senior Division High High Industrial College Other School School Hokkaido 32 21 2 0 1 Tohoku 42 27 l 0 0 Kanto 69 43 3 3 4 Tokyo 15 24 7 4 2 Tokai 52 35 6 2 2 Kansai 31 35 7 3 2 Hokuriku 7 7 l 0 0 Shikoku 8 7 2 0 0 Chugoku 36 28 3 0 0 Kyushu 43 25 6 3 0 TOTAL 335 252 38 15 11 GRAND TOTAL: 651 SOURCE: on Band), Vol. VII: Rekishi (Instrumentation and History), Sansaku Meguro (ed.), Suisogaku-Koza (Lectures . _r______ Suisogaku no Hensei to Tokyo: Ongaku-no—Tomo Sha, 1970), p. (lst ed.; 202. 67 As a result of the move by the All-Japan Band Association, a number of works listed in Table 22 were commissioned, published, and performed as assigned works for all participants at the contests from 1962 through 1966. TABLE 22.--Required Pieces Assigned to All Participating Bands at the All-Japan Band Contests, 1962 Through 1966. .— Year Title Composer Junior High School Bands 1962 Wakaudo (March--Youth) Masami Katayama 1963 Asa-no Step (March-~Morning Step) Kunio Ogahara 1964 Koya o Yuku (Overture--Going Kan Ishii Through a Plain) 1966 Gakuen (Overture-~School) Chosuke Sato Senior High School, College, Industrial, and Other Bands 1962 Tokino Koe (March-~Battle Chorus) Yosaku Suma 1963 kipo_(March--Hopo) Masaru Kawasaki 1964 Wakaudo no Uta (Song for Youth) Bin Kaneda 1966 Suisogaku-no-Tameno Shyo- Hiroshi Oguri Kyoshikyoku (Rhapsody for Band) SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), p. 212. 68 The publishing company, Ongaku-no-Tomo Sha, emula- ted the action of the All-Japan Band Association. The company set up a composition contest in February, 1962, primarily to commemorate its twentieth anniversary, but also with the hope of encouraging composers to produce new works. The contest was open to all Japanese composers; however, the medium was limited to vocal solo with piano, chamber music, chorus, songs for children, and band music. Those deemed the best for each medium were awarded cash prizes ranging from 10,000 to 50,000 yen ($30.00 to $50.00), and were published through the major monthly periodicals. This move produced such works as Shori no Mogami (Queen of Victory) by Kazufumi Kanai, which was pub- lished in the October, 1962, issue of the Band Journal, one of five periodicals owned by Ongaku-no-Tomo Sha. The Band Journal, reacting to the company's action, started publishing band music written by Japanese composers as a Inain portion of their monthly periodicals, and have con- ‘tinued to do so from 1962 to the present. The Band Journal introduced works written by the following 22 Japanese com- gxssers from 1962 through 1966: Yoshio Hirooka, Masami IQitayama, Hachidai Nakamura, Masao Izumi, Toshio Akiyama, Genba Fujita, Kaichiro Kawabe, Kunio Ogawara, Tetsuya Iqmwasaki, Yosaku Suma, Den Yagi, Masushiro Hagiwara, lasisaku Negano, Akira Matsudaira, Jyuki Iwamura, Bin Kaneda, 69 Toshinao Sato, Tokujiro Saito, Masaru Kawasaki, Sushi Shida, Ichitaro Tsujii, and Shojiro Sato. Birth and Development of Professional Concert Bands Tokyo Suisogakudan (Tokyo Symphonic Band) Entering the history of Japanese band music in 1963 was the first professional concert band not subsi- dized by a government agency, but rather privately supported. The nation's second largest producer of pianos, Kawai Music Company, was the sponsor of the new Tokyo Symphonic Band. Although it was not a full-time organization, it was staffed by professional musicians who played in other symphony orchestras, taught, or free-lanced in Tokyo. The instrumentation for this band is shown in Table 23. The Tokyo Symphonic Band never marched, but gave a series of regular concerts in Tokyo, made several recordings, and toured cities outside of Tokyo. It func- tioned with guest conductors as it never had a permanent one. Leading orchestral and band conductors from 1963 through 1966 included such men as Masato Yamamoto, Director and Conductor of the Tokyo University of Arts Band; Noboru Kaneko, a former conductor of the Tokyo Philharmonic Orchestra; Yuzo Toyama, a former conductor of the NHK Symphony Orchestra; and Kazuo Yamada, Conductor of the Kyoto City Symphony Orchestra. The repertoire performed by this band varied depending on the individual 70 TABLE 23.--Instrumentation of the Tokyo Suisogakudan in 1963 (Tokyo Symphonic Band). WOodwinds Brass Zidcgiiigz Flute and Piccolo 3 Bb Cornet or Trumpet 7 Tympani 1 Oboe or English Horn 2 French Horn 4 Drums 2 Bassoon 2 Trombone 3 Harp 1 Eb Clarinet 1 Euphonium 2 String Bass .ik Bb Clarinet 11 Bass __4_ 5 20 Bass Clarinet l Alto Saxophone 2 Tenor Saxophone 1 l Baritone Saxophone TOTAL: 49 SOURCE: Letter from Ruyjiro Sawano, General Manager of the Tokyo Symphonic Band, Tokyo, June 17, 1974. conductor. However, the programs listed on pages 71 and 72 indicate the high standards maintained by all of the vari- ous conductors . (Dsaka Shi Ongakudan (The Munici- pal City Band of Osaka) As the Tokyo Symphonic Band represents the nation's capital city, Tokyo, the Municipal City Band of Osaka repre- sents Osaka, the nation's second largest city. While the fcunner operated only part-time, the latter was a full-time organization; and while the former was sponsored by a pnaivate firm, the latter was sponsored by the city of Osaka which the band served. The history of the Municipal 71 DEBUT CONCERT PRESENTED BY THE TOKYO SYMPHONIC BAND Masa to Yamamoto, Conductor Kudan Kaikan Hall November 5, 1963 PROGRAM Overture from "Die Fledermaus" . . . . . . . . . . Strauss Hill Song No. 2 . . . . . . . . . . . . . Percy Grainger Symphony for Band in B-flat . . . . . . . . . Paul Fauchet Scheherazade . . . . . . . . . . . . . Rimsky-Korsakoffl SECOND REGULAR CONCERT PRESENTED BY THE TOKYO SYMPHONIC BAND Yuzo Toyama, Conductor Hibiya Public Hall January 21, 1964 PROGRAM Suite Frangaise . . . . . . . . . . . . . Darius Milhaud Jericho . . . . . . . . . . . . . . . . Morton Gould Symphonic Suite . . . . . . . . . . . . Clifton Williams Rhapsody in Rhumba . . . . . . . . . . . . . David Bennet Pines of Rome . . . . . . . . . . . . . . . . Respighi2 1 Taro Kunieda, "Debut Concert Presented by the Tokyo Symphonic Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), Vol. LXXXVI (December 1963) , p. 28. 2Taro Kunieda, "Second Regular Concert Presented by the Tokyo Symphonic Band,” Gekkan Suisogaku Kenlg'u (Monthly Band Research Journal), Vol. LXXXVII (March 1964?. p. 28. 72 SIXTH REGULAR CONCERT PRESENTED BY THE TOKYO SYMPHONIC BAND Noboru Kaneko, Conductor Hibiya Public Hall April 23, 1965 PROGRAM Overture for Band . . . . . . . . . . . . . Mendelssohn Symphony fbr Band . . . . . . . . . . . . . Mendelssohn Symphony fbr Band No. 1 . . . . . . . . . . . Don Gillis Invitation to the Dance . . . . . . . . . . . . von Wéber Military March . . . . . . . . . . . . . . . Beethoven symphony in B-fla t O 0 O 0 O O O O O O O O O O Hindemi th Rakoczy March . . . . . . . . . . . . . . . . Berlioz City Band of Osaka is a long one which can be traced back before World War II. Like most bands in Japan, it struggled for existence during and after the war. However, by 1962 Ichitaro Tsujii, Conductor and Director of the organization from 1947 to 1972, was especially pleased not only with the band's financial stability, but also with the estab- lished and loyal personnel. The instrumentation of the Municipal City Band of Osaka is shown in Table 24. Besides the half-dozen regularly scheduled concerts throughout the year where admission fees were charged, the band also played free school concerts and programs at the Mitsukoshi Department Store in Osaka, and sponsored summer lToshio Akiyama, "Nineteen Sixty-Five Record of Events in the Music World-—Band," Ongaku-Nenkan (Mosic'Year Book), Vol. XVIII (December 1965): p. 65. 73 TABLE 24.--Instrumentation of the Osaka Shi Ongakudan, 1962 Through 1966 (Municipal City Band of Osaka). - Percussion WOodwinds Brass and Other Piccolo or Flute 2 Bb Cornet 3 Tympani 1 Oboe and/or English B: Trumpet or Drums 4 2 . Horn B Bugle 3 String Bass 1 Eb Clarinet 1 French Horn 4 Ha rp __i Bb Clarinet ll Trombone 4 7 Alto Clarinet l Baritone 4 Bass Clarinet l Euphonium 1 Soprano and/or Alto ' Eb Bass 1 Saxophone 2 Bb Bass 1 Tenor Saxophone 1 l Baritone Saxophone 1 22 TOTAL: 50 SOURCE: Letter from Keisaku Nagano, Director and Conductor of the Osaka Shi Ongakudan (Municipal City Band of Osaka), 1972 to date, Osaka, Japan, May 8, 1974. clinics. Because of the high quality of performance, the excellent repertoire used, and time well rounded instrumen- tation, critics hailed the band as "a truly symphonic band in Japan"1 and "equipped with ideal instrumentation with 2 narly perfect performance ability among the players." A *well.known critic, Tomoaki Mito, went on to say that "the instrumentation of this band is much like that of the 1Meiro Sugahara, "The Municipal City Band of Osaka," (yekkan Suisogaku Kenkyu (Monthly Band Research Journal), x761. LXXVI (February 1962). p. 24. 2Tomoaki Mito, "The Municipal City Band of Osaka," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), iflil. LXXVI (February 1962), p. 24. 74 l The reputation of this band is American symphonic band." mainly credited to Ichitaro Tsujii who, as an ex-military bandsman, directed and conducted the band from 1947 through 1972. The compositions performed by the Municipal City Band of Osaka from 1963 through 1966 are shown below. MUNICIPAL CITY BAND OF OSAKA Ichitaro Tsujii, Conductor November 8, 1963 PROGRAM Second Symphony for Band . . . . . . . . . . Earl Erickson Dionysiaques . . . . . . . . . . . . . . . F. Schmitt warsaw Concerto . . . . . . . . . . . . . R. Addinsell (Arr. E. Liedzen) La Boutique Fantastique . . . . . . . . . Rossini - Respighi (Arr. D. Godfrey) Conmmndo March . . . . . . . . . . . . . . . . Barber Ballet Music from "Faust" . . . . . . . . . . . . Gounod (Arr. Laurendeau-Drake) lIbid., p. 25. Homage March Autumn in Retrospect 75 MUNICIPAL CITY BAND 0F OSAKA Ichitaro Tsujii, conductor November 25, 1964 PROGRAM Three Japanese Dances . . . . . . . . . Ballet Suite from "Mademoiselle Augot" . . . Intermezzo from "Goyescas" . . . . . . . Selections from "My Fair Lady" . . . . . . Apollo March Lincolnshire Posy MUNICIPAL CITY BAND 0F OSAKA Ichitaro Tsujii, Conductor May 24, 1965 PROGRAM .Divertissment from "Salamlik" Op. 48 . . . . (Sypsy Baron Suite .Les Preludes . . wagner Alan Grayson Landis Rogers . . Lecocq (Arr. R. Mahaupt) . Granados . F. Loewe (Arr. Tom Clark) . Bruckner . Percy Grainger F. Schmitt . Strauss (Arr. W. Beeler) (Arr. . . Liszt T. C. Brown) Warm-sq I 76 MUNICIPAL CITY BAND OF OSAKA Ichitaro Tsujii, Conductor November 8, 1966 PROGRAM Chester Overture fbr Band . . . . . . . . . . William Schuman Folk Song Suite . . . . . . . . . . . . vaughan Williams Festival Overture Op. 96 . . . . . . . . . . . Shostakovich (Arr. D. Hunsberger) Bolero . . . . . . . . . . . . . . . . . . . Ravel (Arr. P. Dupont) Elsa's Procession to the Cathedral from "Lohengrin" . . . . . . . . . . . . . . . . wagner (Arr. L. Caillet) The 1964 Olympic Games For the first time in her history, Japan hosted the Olympic Games in 1964. A number of prominent Japanese bands were involved in providing music for the pre-game ceremony, opening and closing ceremonies, and various games. Most of the musicians were from the Self-Defense Armed Forces Band, Tokyo Metropolitan Police Department Band, and the Tokyo Metropolitan Fire Department Band. Among selec- tions performed were Olympic Overture by Dan Ikuma and Olympic no Kane (Bells of Olympic) by Toshiro Mayuzumi, 1Letter from Keisaku Nagano, Director and Conductor of the Osaka Shi Ongakudan (The Municipal City Band of Osaka), Osaka, Japan, May 8, 1974. 77 two works which were commissioned especially for this occasion by the Ceremony Committee. Also, national anthems for the participating countries were performed by various bands to honor the winning athletes after each game. The activities of the Olympic Games were widely covered by radio, newspapers, magazines, and television, thus giving much exposure to their musical portion. Because of the popularity of television in Japan, millions of people were given the opportunity not only to see the games, but also to hear and view the important role performed by the bands. How much the games promoted the band movement in Japan is hard to say, but it is an unquestionable fact that a great majority of people were made aware of the band as an integral part of the enjoyment of life for the Japanese people. According to Toshio Akiyama, the total number of bands in the nation at this time numbered more than the reported figure of 5,000.1 This was a high point in the history of the Japanese band. Exchange of Visits Between American and Japanese Bandmasters Another event which took place from 1963 through 1966 was the frequent interchange of visits between American and Japanese bandmasters. Through these visits and interactions the Japanese band directors were not only lToshio Akiyama, "Nineteen Sixty-Five Record of Events in the Music WOrld--Band," Ongaku-Nenkan (Music Year Book), Vol. XVIII (December 1965), p. 63. 78 greatly stimulated, but gained many new ideas and insights to contribute to the growth, development, and advancement of Japanese band music. Toshio Akiyama, Director of the Ohmiya Kogyo Senior High School Band, visited the United States in 1963 where he studied band music at both the Eastman School of Music and the University of Michigan. He also traveled exten- sively throughout the country observing numerous band activities, and even appeared as guest conductor at one of the summer concerts given by the Goldman Band in New York City. Although a number of Japanese musicians visited the United States prior to 1963, he stands out as being the first person from Japan to come specifically for the pur- pose of studying band music. His experiences and exposures in the United States were definitely regarded as a major contribution to the Japanese band movement. While Akiyama was absent from his country, Colonel George S. Howard, recently retired Commander and Conductor of the United States Air Force Band, Washington, D.C., was visiting Japan. During June, 1963, he was invited to guest- conduct the leading bands in Tokyo including the Tokyo University of Arts Band and the Self-Defense Army and Air Force Bands. Two years later in 1965, Clarence Sawhill, Director of the Band at the University of California, Los Angeles, and Fred Weber, a representative of Belwin, Inc., New York, I" 79 aflso visited Japan. Both men gave a number of clinics, lectures, and demonstrated rehearsal techniques by utiliz- ing Japanese bands at cities they visited. During his stay in Japan, Fred Weber used his First Division Band Course published by Belwin, Inc., New York, for the clinics. While there he made a number of revisions and modifica- tions by consolidating Parts III and IV, and adding a few Japanese songs. This new book was translated into Japanese by the staff of the Toa Ongaku Shuppan Sha (Toa Music Publishing Company) and was published in 1966 as the First Division Band Nippongo Ban (First Division Band Method Japanese Edition.) Following the visits of Sawhill and Weber to Japan in 1965, Paul Yoder, former president of the American Bandmasters Association, and walter Volkwein, president of Volkwein Brothers, Inc., were invited by the All-Japan Band Association to attend the contest as guests during the same year. During his stay, Yoder addressed the band (directors and informed them, among other things, about the gnxrpose, history, and philosophy of the American Bandmasters Association. With the leadership of a few Japanese band cirrectors, a similar organization, the Japan Badmasters Association was founded in 1967. This will be discussed in detail in Chapter V. A memorable year for the Tenri High School Band occurred in 1966 when it, along with Director Kiyoshi Yano, 80 participated in the Annual Rose Bowl Parade held in Pasa- dena, California. They had the distinction not only of being the first Japanese high school band to appear in such an event, but also the first to perform in the United States. Another important visit was made during that same year when Harold Walters, American composer-arranger, visited Japan to give a number of lectures and demonstra- tions in the cities of Tokyo, Nagoya, Hamamatsu, Nagasaki, F Hiroshima, Nishinomiya, Sendai, Asahikawa, Sapporo, and .L_; Omiya. His major contributions through his compositions and performances were the introduction of jazz and Latin American music. While there he also appeared as guest conductor for one of the nation's leading bands, the Municipal City Band of Osaka. {Nuaprogram appears on the following page. To conclude the visits in 1966, Masaru Kawasaki journeyed to the United States to study composition with Clifton Williams and Vaclav Nelhybel. Already an estab- lished Japanese composer, he made the trip under the fellowship program provided by UNESCO (United Nations Educational Scientific and Cultural Organization). While there, he also toured the States observing band rehearsal techniques and performances at various colleges and uni- versities. 81 MUNICIPAL CITY BAND OF OSAKA Harold welters, Conductor Mainichi Hall May 30, 1966 PROGRAM People's Choice . . . . . . . . . . . . . Douglas MOore Geometrics in Sound . . . . . . . . . . . . Martin Mailman r Stratford su-i te O O O O O O O O O O I O O O O H. cable I, I 4 Serenade fOr Winds, K. 388 . . . . . . . . . . . . Mozart Petite Suite . . . . . . . . . . . . . . . . Debussy (Arr. M. Fukai) 1812 Overture . . . . . . . . . . . . . . . Tchaikowsky (Arr. T. C. Brown) Marching Bossa Nova . . . . . . . . . . . . Harold walters Estrellita . . . . . . . . . . . . . . . . M. M. Ponce The Golden Ear . . . . . . . . . . . . . M. San Miguel (Arr. H. welters) . . l Jamaican Folk Song Su1te . . . . . . . . . . Harold walters 1Letter from Harold Walters, guest conductor of the concert given by the Municipal City Band of Osaka, May 30, 1966, Miami, Florida, June 12, 1974. CHAPTER V A HISTORY OF THE BAND IN JAPAN (1967-1970) Role of the All-Japan Band Association ‘7? Revision of the All-Japan Band Contests The All-Japan Band Association was successful in promoting amateur bands as "the membership of the All-Japan Band Association tripled between 1956 and 1959"1 according Itrr to an estimate made by the renowned director and author, Toshio Akiyama. Through the annual contests, the associ- ation helped member bands establish high standards of both performance and instrumentation while promoting the Japanese composers of the required pieces. Dissatisfaction accumulated over the years, however, due to widespread discontent over competitive judging. As the ranking system practiced on the national level only awarded a first, second, and third prize to each class, many directors and participants felt unrecognized, espe- cially after the elaborate and concentrated rehearsals in preparation for the contests. In 1970 this led to a new system of rating the bands on the national level whereby the association awarded an unlimited number of gold, silver, 1Akiyama, op. cit., p. 9. 82 83 mxicopper prizes in each category depending upon the level cm'performance. As a result of this action, a total of fif- teen gold prizes, versus five first place awards in the Old system, were presented to bands from four junior high schools, five senior high schools, three colleges, two com- munity and two industrial bands. ywm The old policy of having the required piece written by a Japanese composer remained unchanged through 1969. a Table 25 shows the required repertoire for the various ‘ classes from 1967 through 1969. Ek- TABLE 25.--Required Pieces Assigned to All Participating Bands at the All-Japan Band Contests, 1967 Through 1969. Year Title Composer Junior High School Bands 1967 Kita no Kuni Kara (From Northern Koichi Hattori Country) 1968 Jo Ha Kyp_(Introduction, Break Shigeo Tohno Through and Fast) 1969 Furusato no Jyokei (Scene From Masaru Kawasaki Home Country) Senior High School, College, Industrial, and Other Bands 1967 Divertimento for Band Bin Kaneda 1968 Utsurigena Godo no Mood Tetsuo Tsukahara (Capricious Mood of Fifths) .1969 Nankyokuten eno Jyokyoku Saburo Iwakawa1 (TOne Poem for Band) Sansaku Meguro (ed.), Suisogaku-KozaiTLectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970i: p. 212. SOURCE: 84 Role of the Yamaha Ongaku Shinkokai (Yamaha Music Development Corporation) FOunding of the Yamaha Band Directors Course The Yamaha Music Development Corporation is a divi- sion of the Yamaha business conglomerate, the largest piano producer as well as the largest manufacturer of band instruments in Japan. Recognizing the growing number of bands, especially among junior and senior high schools, along with the rising demand for directors, it founded a pilot school in 1968 exclusively for training band direc- tors. The school, which provided the Yamaha Band Directors Course, was the first of its kind ever sponsored by a pri- vate industry in Japanese band history. The curriculum covered a wide range of subjects including history, arranging, instrumentation, band con- ducting methods, applied lessons for band instruments and small and large ensembles. The enrollment was light as students were required to attend classes Monday through Saturday for one year from 9:00 A.M. to 9:00 P.M. The stu- dents in the first graduating class were not only enthusi- astic about the course, but also about the handsome scfluslarship of 30,000 yen ($100.00) per month provided by the company during the training period. Upon completion of the course, the majority of the graduates were placed in positions at various local Yamaha stores and offices as band directors, band consultants, etc. 85 The conception of the course was timely and practical. However, it turned out to be too costly for the Yamaha Music Development Corporation to maintain the school. In 1969 the school gradually began curtailing the scholar- ships and shifting its program towards more profitable courses such as jazz, dance, and popular music. rm. Publication of Music Suitable for Small Bands As the number of bands in Japan was rapidly increas- g ing, the Yamaha Music Development Corporation noted two 1e..- facts: 90 percent of all Japanese bands were those from junior and senior high schools; and, at least half of them contained between 15 and 25 players. Thus, Yamaha concluded that a great demand existed for music written and/or arranged for the smaller sized band, as little was available in the market. They commissioned Bin Kaneda, a young, talented, Japanese composer, to write, transcribe, and arrange pieces for this group of bands. As a result, more than 60 pieces were written and arranged by Mr. Kaneda, and published by the Yamaha Corporation from 1967 through 1968. The following is a list of these compositions: COMPOSITIONS FOR A BAND WITH FIFTEEN OR MORE MUSICIANS COMPOSITION COMPOSER Umi (The Sea) Takeshi Inoue The River Calls G. Bear Twinkle Twinkle in the Sky W. A. Mozart COMPOSITION 86 Golliwog's Cakewalk from “Childrenis Corner” Song of Samoa (Polynesian Folk Song) Midnight at Washington Square Norwegian Dance No. 2 Song of Marcellino Yukiyama Sanka (Song of Snow Mountain--American Folk Song) Troika (Russian Folk Song) Pretty Augustine (German Folk SongT Three Baby Pigs Cielito Lindo Whistler and His Dog Tomoshibi (A Light--Russian Folk Song) Suite "Alcina" No. 1 Suite "Alcina" No. 2 Buttons and Bows Aloha Oie (Hawaiian Farewell Song) My Merry-Go-Round Toy Symphony Lullaby of Raymond Oh Brenelli! (Swiss Folk Song) Picnic (English Folk Song) Piano Concerto in C Major COMPOSER Debussy B. Goldstein Grieg P. Solozabel F. Churchill D. Fernandez A. Pryor Handel Handel N. Grantburg Haydn A. Thomas Haydn 87 COMPOSITION Hoshi Furu Yoru (The Night Stars Fall) Flute Sonata in C, No. 1 Mexican Hat Dance (Mexican Folk Song) Slavonic Dance No. 8 Click, Click, Click (Australian Folk Song) COMPOSER P. Vax Vivaldi Dvorak COMPOSITIONS FOR A BAND WITH TWENTY-FOUR OR MORE MUSICIANS COMPOSITION Itsugi no Komoriuta (Lullaby of Itsugi—-Japanese Folk Song) Akatonbo (Red Dragonfly) Fugue in C Minor Only You Love from Russia Kachusha (Russian Folk Song) London Bridge (English Folk Song) Hunting Song La Spagnola (Italian Folk Song) Elégie Bibbidi Babbidi Boo Sentimental Journey Oh Susanna! COMPOSER Kosaku Yamada Bach B. Lum and A. Land L. Burt Tchaikowsky Tchaikowski M. David, A. Hoffman, and J. Livingston L. Brown and B. Holmer S. Foster 88 COMPOSITION Fugue in G Minor Mura no Kojiya (Blacksmith of the Villago) Cuckoo Waltz Hungarian Dance No. 2 Turkey in the Straw (American Folk Song) Dim Lights Swanee River More from "Mondo Cane" Hungarian Dance No. l Time of the Toast La Comparsa Holidilidia (Swiss Folk Song) The Peanut Vender Annie Laurie (Scottish Folk Song) Halleluia Chorus (Arr. for Chorus and Band) La Cucaracha (Mexican Folk Song) The Wondering People (Arr. for Chorus and Band) 1 COMPOSER J. S. Bach Composer unknown J. E. Jonathan Brahms E. Donata S. Foster N. Orivello and R. Ortoani Brahms Bin Kaneda E. Lecuona M. Simons Handel Schumannl Yamaha Band Music Series, a brochure prepared by the Yamaha Music Development Corporation, Tokyo, Japan, 1967-1968. 89 The 30 compositions written for a 15-member band were scored as shown below: Woodwinds Brass Percussion Flute or Piccolo First, Second, and Third Drums (2) Bb Cornet or Trumpet First, Second, and First and Second French Third Bb Clarinet Horn First and Second Trom- bone Baritone Tuba The remaining 30 pieces, scored for a band of 24 players, included the following parts: Woodwinds Brass Percussion Flute or Piccolo First, Second, and Third Drums (2) Bb Cornet or Trumpet First, Second, and First, Second, and Third Third Bb Clarinet French Horn Alto Saxophone First, Second, and Third Trombone Teno SaXOphone Baritone Tuba The difference between the two is the addition of saXOphones, third horn, and third trombone to the second group. Accompanying the scores, Yamaha published a separate directors' manual, and also recorded examples of the music for the benefit of both directors and musicians. This practical approach soon became very popular, and music for small bands began to fill the libraries of many schools 90 throughout the nation. According to the composer-arranger Kaneda, ”these sixty compositions for small bands are perhaps the most widely-diffused band pieces in Japan next to the required selections for the All-Japan Band ContestsJJ' Birth and Role of the Suisogaku Shidosha Kyokai (Japan Bandmasters Association) m’ When Paul Yoder addressed the Japanese band direc- é tors during his visit in 1965, his talks centered around é the purpose, history, and philosophy of the American Band— é masters Association, and he recommended that the Japanese ; band directors found a similar organization in Japan. His address was timely as it took place when dis— satisfaction was growing among the members of the All-Japan Band Association, especially where the contests were con- cerned. Discontent focused upon the limitations and weaknesses of the association, and included the following: while the All-Japan Band Contest was a major undertaking by the association, it promoted no other musical services such as clinics and concerts; membership to the association was open only to bands as a unit, and not to individual band directors; membership and activities of the associ— ation were exclusively for amateur bands, which eliminated the participation of professional bands, and so hindered it as a leader of all bands on a nationwide sc0pe; and a 1Letter from Bin Kaneda, Assistant Professor of bmisic at Gifu University, Gifu, Japan, May 29, 1974. 91 lack of communication existed by 1967 between the associ- ation and musicians of related fields such as composers, publishers, and manufacturers of band instruments. These problems eventually led to the founding of the Nippon Suisogaku Shidosha Kyokai (Japan Bandmasters Association) in 1967, modeled after the American Band- masters Association. In January, 1967, two hundred fourteen bandmasters and other professional musicians gathered in Tokyo for the inaugural conference and declared that the purpose of the new organization was "to develop and advance the musical-cultural life of Japan through band music, and to help individual members culti- vate their study of band and friendship with others."1 In order to carry out the purposes, the following policies were announced to be implemented at the conference table: 1. To encourage performance of quality band music, use of good instruments, and the adoption of good band methods; 2. To help in the research of history, instru- mentation, arranging and band methods; exchange of ideas after the research is completed; 3. To assist in establishing a general band library; 4. To exchange friendship and good will with 2 other bandmaster's associations from abroad. 1Constitution and By-Laws of the Japan Bandmasters Association (lst ed.; Tokyo: Japan Bandmasters Association, 1967), p. 11. 2 Ibid. 92 To implement these policies, the Japan Bandmasters Association sponsored several activities such as clinics, a chartered study tour of the American bands, annual compo- sition contests for Japanese composers, lectures and symposiums for band. One of the most important contribu- tions proved to be the annual composition contest for band music written by Japanese composers, inaugurated in 1968, and practiced to date. Serious band music was, therefore, given a public hearing, and included such works as Suisogaku no Tameno Onshi (Tone Poem for Band) by Saburo Iwakawa (1968), Metamorphosis by Kenjiro Urata (1969), and Suisogaku no Tameno Mittsu no Dansho (Three Pieces for Band) by Yomei Kuwabara (1970). Mr. Iwakawa's Tone Poem for Band has also been published in the United States by Volkwein Brothers, Inc., Pittsburgh, Pennsylvania, since 1969. Another important contribution was the endorsement of the Suisogaku Hyojyun Henseian (Standard Band Instru- mentation Plan) which took place at the third annual Japan Bandmasters Association Convention in 1969. Although it was unique at this time, in the past there had been a strong request for such standardization as "composers entering the composition contests sponsored by the Japan Bandmasters .Association and the All-Japan Band Association needed to know the size of bands involved or the ideal size of bands 93 1 The instrumentation it to be strived for in the future." recommended for a standard sized band is shown in Table 26. The instruments used in the Standard Band Instru- mentation Plan as endorsed by the Japan Bandmasters Association are nearly identical to those utilized in the so-called "standard American band instrumentation" of the United States as constituted in the 19303. Differences between the Japanese plan and the latter include the omis- sion of the second oboe, second bassoon, alto clarinet, TABLE 26.--Suisogaku Hyojyyn Henseian (Standard Band Instrumentation Plan) Endorsed by the Japan Bandmasters Association in 1969. Woodwinds Brass :ggcgizign Piccolo l Cornet 4 Tympani l Flute 2 Trumpet 2 Percussion 3 Oboe 1 Horn 4 String Bass 1 Bassoon l Tenor Trombone 2 ‘3 Eb Clarinet 1 Bass Trombone l Bb Clarinet 10 Euphonium 2 Bass Clarinet Tuba __é Alto Saxophone Tenor Saxophone w Hra N F4 TOTAL: 45 SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to:kekishi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970), p. 211. 1Letter from Kiyoshi Oishi, Vice-Chairman of the Board, Japan Bandmasters Association, Tokyo, Japan, April 8, 1974. 94 and baritone saxophone in the former. This was mainly due to the expense involved as these instruments were gener- ally imported from either Europe or the United States. The "standard American band instrumentation" was con- sidered suitable to accommodate 40 to 60 players and includes the following parts, as given in Table 27. TABLE 27.--Standard American Band Instrumentation. Woodwinds Brass Percussion C or d) Piccolo First, Second, and Tympani Third Bb Cornet First and Second Flute Percussion First, Second, First and Second Oboe Third, and Fourth Horn Eb Clarinet First, Second, and First, Second, and Third Trombone Third BD Clarinet Baritone Alto Clarinet Euphonium Bass Clarinet Bass First and Second Bas- soon First and Second Alto Saxophone Tenor Saxophone .Baritone Saxophone SOURCE: Sansaku Meguro (ed.), Suisogaku-Koza (Lectures on Band), Vol. VII: Suisogaku no Hensei to Rekishi (Instrumentation and History), (lst ed.; Tokyo: Ongaku-no-Tomo Sha, 1970). p. 165. 95 Summary Band Literature Prior to WOrld War II, and especially during the period of the Sino-Japanese War (1894-1895), band repertoire was limited to marches and war songs written by native com- posers as encouraged by the Japanese government. Three of the leading composers were the military bandmasters Kozo Yoshimoto, Kenshi Nagai, and Tokichi Setoguchi as shown on page 8, along with representative works. Much of the band literature performed by the lead- ing professional bands during the occupation period (1945- 1952) included both American and Japanese marches, along with transcriptions of European orchestral repertoire, as seen on pages 20, 21, 24, and 25. This literature reflected the post-World-War-II concept of reputable band music conceived by the ex-military bandsmen. Early pro- grams given by the Tokyo University of Arts Band in 1951 and 1952, pages 35 and 36, further exemplify this fact. By 1953 the concept of band repertoire began to shift toward imported original band music from the United States, as well as in original band compositions written 11y Japanese composers. The chart on page 96 shows the nuisical trends and composers from 1953-1970. PAGE NO. 37, 38, 39, 44, 45 50 60 67, 83 68, 68, 69 71, 72, 74, 75 92 LEAR}. 1953-61 1954 1956-61 1962-69 1962 1963-66 1968—70 96 TRENDS A growing interest in American compositions (mostly marches) and in original Japanese marches Performances of European and American compositions Mostly American marches used as assigned pieces in the All- Japan Band Contests, 1956-1961 A move by the All-Japan Band Association to promote Japa- nese composers by commission- ing them to write music for the assigned pieces at the All-Japan Band Contests, 1962-1969 Promotion of native composers by regular publication of their works in the Band Jour- poi, published by Ongaku-no- Tomo Sha Performances of standard European and American compositions Composition contest sponsored by the Japan Bandmasters Association to promote Japa- nese composers REPRESENTATIVE COMPOSERS American Farrar McBeth Meacham Sousa Zimmerman Japanese Fukami Mizushima Narita Setoguchi Yamamoto Yoshimoto Composers are shown in the programs given by the Self- Defense Army Band and the Self-Defense Navy Band American Goldman Jarrett Klein Moon Yoder Japanese Akiyama Fujita Hagiwara Hirooka Iwamura Izumi Kawabe Kawasaki, M. Kawasaki, T. Matsudaira American Gillis Gould Williams Japanese Hattori Ishii Kaneda Katayama Ogahara Oguri Suma Tohno Tsukahara Nagano Nakamura Ogawara Saito Sato, S. Sato, T. Shida Tsujii Yagi European Gounod Mendelssohn Wagner Japanese Iwakawa Kuwabara Urata 97 Band Instrumentation The instrumentation of all pre-World War II bands in Japan utilized more brass than woodwind instruments, a reflection of the English brass band concept established in the very first band by William Fenton as early as 1869. This concept remained unchanged throughout most of the occupation period (1945-1952). However, since 1950 the woodwinds have gradually become the dominant section. A consensus was reached in 1969 with the institution of the Standard Band Instrumentation Plan, endorsed by the Japan Bandmasters Association. The instrumentation of this plan was nearly identical to that of the Standard American Band Instrumentation practiced in the early 19305. The instru- mentation of the Municipal City Band of Osaka and the Tokyo Symphonic Band, Japan's two leading professional bands in existence since 1962 and 1963, respectively, both reflect the influence of the "American band" as they are nearly identical in this respect. The chart on page 98 shows the ratio of brass and woodwind instruments employed in the bands reviewed in the text. Band Activities and Movements Prior to World War II, the band in Japan primarily centered around the military, but in the occupation period it was compelled to cease functioning in this role. As a result, the ex-military bandsmen established the Tokyo Shobo Cho Band (Tokyo Metropolitan Fire Department Band) in 98 PAGE TABLE BALANCE OF WOODWIND NUMBER norms): mm AGAINST BRASS 1:15st mm or “'3 mo 4 1 1869 11:16 in favor of brass THE FIRST BAND IN 1869 5 2 1871 13:21 in favor of brass THE NAVY BAND IN 1871 10 3 1909 2:7 in favor of brass THE BOYS' BAND OF MITSUKOSHI DEPARTMENT STORE 11 4 1928 5:9 in favor of brass THE FUITSU-DAI-ICHI-SHOGYO SCHOOL BAND 19 5 1949 7:11 in favor of brass THE TOKYO SHO—BO CHO BAND (Tokyo Metropolitan Fire Department Band) 22 6 1950 14:13 in favor of wood- THE TOKYO SHO-BO CHO BAND (Tokyo winds Metropolitan Fire Department Band) 23 7 1949 14:22 in favor of brass THE TOKYO KEISHI CHO BAND (Tokyo Metropolitan Police Band) 34 8 1951 17:29 in favor of brass THE TOKYO GEIJYUTSU DAIGAKU BAND (Tokyo University of Arts Band) 48 11 1954 29:36 in favor of brass THE SELF-DEFENSE ARMY BAND 48 12 1954 14:17 in favor of brass THE SELF-DEFENSE NAVY BAND 49 13 1961 18:19 in favor of brass THE SELF-DEFENSE AIR FORCE BAND 54 14 1960 28:26 in favor of wood- "HE UNITED STATES AIR FORCE BAND winds 55 15 1960 30:33 in favor of brass THE UNITED STATES ARMY FIELD BAND 61 17 1957 13:20 in favor of brass GAMAGORI JUNIOR HIGH SCHOOL BAND 62 18 1957 15:21 in favor of brass TENRI SENIOR HIGH SCHOOL BAND 62 19 1959 17:20 in favor of brass OHMIYA KOGYO SENIOR HIGH SCHOOL BAND 63 20 1961 20:17 in favor of wood- IMAZU JUNIOR HIGH SCHOOL BAND winds 70 23 1963 24:20 in favor of wood- THE TOKYO SUISOGAKUDAN BAND winds (Tokyo Symphonic Band) 73 24 1962 22:21 in favor of wood- THE OSAKA SHI ONGAKUDAN BAND winds (Municipal City Band of Osaka) 93 26 1969 21:19 in favor of wood- SUISOGAXU HYOJYUN HENSEIAN (Stan- winds dard Band Instrumentation Plan, Endorsed by the Japan Bandmasters Association) 99 1949 and the Tokyo Keishi Cho Band (Tokyo Metropolitan Police Band) a year later. Other notable innovations during the occupation period (1945-1952) were the passage of two major educational reform bills in 1948, the School Education Law and the University Establishment Law, which made both general and music education more accessible to all Japanese students. As an outcome of the latter, the Tokyo University of Arts Band was formed as the first college band in 1951. Two prominent events which transpired immediately after the end of the occupation were the resumption of the All-Japan Band Contests in 1956, and the formation of service bands as a result of the Mutual Security Act signed between the United States and Japan in 1954. A period of great musical progress took place in Japan during the yearscmfl962 through 1966. The earlier years witnessed a move by the All-Japan Band Association and an influential publishing company, Ongaku-no-Tomo Sha, to promote Japanese composers of band music, and saw also the birth and development of professional concert bands, the ()saka Shi Ongakudan (Municipal City Band of Osaka) in 1962 and.the Tokyo Suisogakudan (Tokyo Symphonic Band) in 1963. {The Olympic Games of 1964 exposed the band to more of the rustive populace. The years 1963 through 1966 were important lxecause American and Japanese bandmasters exchanged visits, 100 which greatly spurred the growth, development, and advance- ment of the Japanese band. Noting the expansion of Japanese bands, the Yamaha Ongaku Shinkokai (Yamaha Music Development Corporation) took steps in 1968 to found a pilot program, the Yamaha Band Directors Course, and to commission Bin Kaneda to compose and arrange music suitable for small bands con- sisting of 15 to 25 musicians. In conclusion, it is the Opinion of the writer that by far the most celebrated event in the history of band music in Japan was the institution in 1967 of the Suisogaku Shidosha Kyokai (Japan Bandmasters Association) modeled after that of the American Bandmasters Association. Since that time it has been extremely influential in guiding the course of the band and its activities in Japan in the direction of greater maturity, and is striving constantly to make music an integral part of the enjoyment and meaning of life for all Japanese people. BIBLIOGRAPHY 101 BIBLIOGRAPHY Books Akiyama, Toshio. Sukurubando no Shido to Unei (Teaching and Administrating School Bands). 9th ed} Tokyo: Ongaku-no-Tomo Sha, 1973. Chidester, Lawrence W. International Wind-Band Instru- mentation. lst ed. San Antonio: Southern Music Co., 1946. Eguchi, Bokuro, ed. Sengo Nipponshi (History of Japan Fennell, After the War). lst ed. Tokyo: Aoki Shoten, 1961. Frederick. Time and the Winds. Kenosha, Wiscon- sin: G. Leblanc Co., 1954. Fukami, Zenji. Suisogakuho (Theory and Orchestration of Goldman, of Band Instruments). 5th ed. Tokyo: Ongaku- no-Tomo Sha, 1973. Richard Franco. The Concert Band. New York: Rinehard and Co., Inc., 1946. . The Wind Band. Boston: Allyn and Bacon, Inc., 1961. . Hirooka, Yoshio. Suisogaku Gasso Renshusho (Ensemble Method for Band). lst ed. Tokyo: Ongaku-no- Tomo Sha, 1952. Horiuchi, Keizo. Ongakushi (History of Music). 30th ed. Howard, Tokyo: Ongaku-no-Tomo Sha, 1973. George S. The Big Serenade. lst ed. Evanston, Illinois: The Instrumentalist Co., 1961. Hsi-en Chen, Theodore. Education in Japan (This is the Ienaga, official English translation in Comparative Study). Edited by Arthur Henry Moehlman and Joseph S. Roucek. New York: The Dryden Press, 1953. Saburo, and Kiyotaka, Kurona. Nippon Shi (Histor of Japan). 9th ed. Tokyo: Sansei Do Publishing Co., 1973. 102 103 Langsam, Walter C. The World Since 1919. New York: Mac- millan Publishing Co., 1954. Meguro, Sansaku, ed. Nippon-no-Ongaku-Kyoiku (Music Educa- tion in Japan). lst ed. Tokyo: Ongaku-no-Tomo Sha, 1963. . Ongaku-no-Tomo Sha Nijyugonen no Ayumi (Twenty- Five Years History of Ongaku-no-Tomo Publishing go.). lst ed. Tokyo: Ongaku-no-Tomo Sha, 1966. . Suisogaku-Koza (Lectures on Band). Vol. VI: Suisogaku no Shido to Unei (Teaching and Adminis- tration of Bands). lst ed. Tokyo: Ongaku-no- Tomo Sha, 1970. Suisogaku-Koza (Lectures on Band). Vol. VII: Suisogaku no Hensei to RekishiFTInstrumentation and History). lst ed: Tokyo: Ongaku-no-Tomo Sha, 1970. Nippon Tokei Nenkan (Statistical Yearbook of Japan). Edited by the Bureau of Statistics, Office of the Prime Minister, Japan Statistical Association and the Mainichi Newspaper. 20th ed. Tokyo: Japan Sta- tistical Association and the Mainichi Newspaper, 1969. Ogawa, Takashi. Honpo Yogaku Kankei Tosho Mokuroku (A List of Books About Foreign Musiciin the Japanese Language). 3rd ed. Tokyo: Ongaku-no-Tomo Sha, 1965. Reischauer, Edwin O. Japan-~Past and Present. 2nd ed. New York: Alfred A. Knope, Inc., 1958. Suzuki, Masashi. Sengo-Nippon-no-Shiteki Bunseki (Histori- cal Analysis of Japan After World War Iii. 9th ed. Tokyo: Aoki Shoten, 1972. Takeuchi, Michizo. Nippon Shi (History of Japan). Edited by Hisao Maruyama. 22nd ed. Tokyo: Kojo Sha Publishing Co., 1973. Yamaguchi, Tsunemitsu, ed. Rikugun-Gungaku-Taishi (History of the Imperial Army Band). Tokyo: Sansei Pub- Iishing Co., 1968. . Suisogaku Hyaku Nen Shi (One Hundred Years His- tory of Band Music). Tokyo: Keigado Publishing Co., 1971. |||(||(Ir tuba» 4 :u . . . , 1,11%... 5. 1. Julio-3....” . ~§.\. ‘3 1‘.) 104 Periodicals Akamatsu, Bunji. "How to Improve Bands in Our Country," Gekkan Suisogaku Kenkyu (Monthly Band Research Jour- nal), VII (April 1954), 4. . "American Band World; Its Instrumentation," Gekkan Suisogaku Kenkyu (Monthly Band Research Jour- nal), XIII (November 1954), 4. . "The United States Air Force Band-—Waiting for Its Arrival," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XXV (November 1955), 3. "American Band World; Its American Bandmasters Association," Gekkan Suisogaku Kenkyu (Monthl Band Research Journal),7 XXXIX (February-March I957), 3. . "American Band World; Its School Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XLI (May 1957), 3-4. . "The United States Army Field Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XLVIII (June-July 1958), 4-6. Akiyama, Toshio. "Nineteen Fifty-Five Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), VII (December 1955), 10. . "Nineteen Fifty-Six Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), IX (December 1956), 13. . "Nineteen Fifty-Seven Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), X (December 1957), 69-70. ‘ . "Nineteen Fifty-Eight Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XI (December 1958), 85-87. . "Nineteen Fifty-Nine Record of Events in the Music World--Band," Ongaku—Nenkan (Music Year Book), XII (December 1959), 115—116. . "Nineteen Sixty Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XIII (December 1960),120-124. 105 Akiyama, Toshio. "Nineteen Sixty-One Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XIV (December 1961), 71-77. . "Nineteen Sixty-Two Record of Events in the Music World—~Band," Ongaku-Nenkan (Music Year Book), XV (December 1962), 57-64. . "Nineteen Sixty-Four Record of Events in the Music World-~Band," Ongaku-Nenkan (Music Year Book), XVII (December 1964), 60-65. . "Nineteen Sixty-Five Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XVIII (December 1965), 58-66. "Report of the Seventy Annual All-Japan School Band Research Conference," Band Journal, LXXXV (October 1966), 76-79. . "Nineteen Sixty-Six Record of Events in the Music World--Band,” Ongaku-Nenkan (Music Year Book), XIX (December 1966), 44-52. . "Inauguration of the Japan Bandmasters Associ— ation,” Band Journal, LXXXX (March 1967), 85. . "Nineteen Sixty-Seven Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XX (December 1967), 5-6. . "Nineteen Sixty-Eight Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XXI (December 1968), 7-10. . "Nineteen Sixty-Nine Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XXII (December 1969), 8-11. . "Nineteen Seventy Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), XXIII (December 1970), 9-13. "All About the American Bandmasters Association," Band Berger, Journal, LXXXVI (November 1966), 76-77. Donald P. "Japanese Bands--Past and Present," The Instrumentalist, XXVI, No. 10 (April 1972), 22-24. Hirooka, Yoshio. "Nineteen Forty-Nine Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), II (December 1949), 14—16. 1 l m- I. j. 106 Hirooka, Yoshio. "Nineteen Fifty Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), III (December 1950), 43-44. . "Nineteen Fifty-One Record of Events in the Music World-~Band," Ongaku-Nenkan (Music Year Book), IV (December 1951), 55-57. . "Nineteen Fifty-Two Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), V (December 1952), 69-70. "Nineteen Fifty-Three Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), VI (December 1953), 77-78. . ”Nineteen Fifty-Four Record of Events in the Music World--Band," Ongaku-Nenkan (Music Year Book), VII (December 1954), 16-19. . "About Db Piccolo and Bass," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XIV (February 1955), l. . "Development of the Japanese Band Movement," Band Journal, CXXXV (December 1970), 42-44. Horiuchi, Keizo. "A Time of Nationwide Organization," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), III (December 1953), 2. "Instrumentation of the Finalists-~1961 All-Japan Band Contest," Band Journal, XXIX (February 1962), 15. Ito, Ryuichi. "Key to Teaching and Method of Notation for Brass," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XXXXV (September 1957), 3-6. Kasuga, Manabu. "About the Future of Our Bands," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LIV (September 1959), 4-5. . "History of the All-Japan Band Association," Band Journal, CXXXV (October 1971), 36-37. Kawasaki, Tetsuya. "Research of Junior High School Band Literature: Part I," Band Journal, LXI (October 1964), 51-54. . "Research of Junior High School Band Literature; Part II," Band Journal, LXII (November 1964), 16-17. 107 Koga, Ikutaro. "New Trend of School Band Instrumentation," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LVI (August 1959), 4-5. . "Meaning of the Contest and Hope for the Future,” Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXVI (February 1961), 4-6. Koyama, Kiyoshige. "The Composer Looks at Band Music," Band Journal, CXXXXII (July 1971), 38-39. Koyama, Mitsuo. "Anecdote of Japanese Bands: Part 21," Band Journal, LXXV (December 1965), 48-49. . "Anecdote of Japanese Bands: Part 22," Band Journal, LXXVI (January 1966), 72-77. . "Anecdote of Japanese Bands: Part 26," Band Journal, LXXX (May 1966), 70-71. "Anecdote of Japanese Bands: Part 27," Band Journal, LXXXI (June 1966), 72-73. . "Anecdote of Japanese Bands: Part 28," Band Journal, LXXXII (July 1966), 70-71. . "Anecdote of Japanese Bands: Part 29," Band Journal, LXXXIII (August 1966), 76-77. . "Anecdote of Japanese Bands: Part 30," Band Journal, LXXXIV (September 1966), 76-77. . "Anecdote of Japanese Bands: Part 32," Band Journal, LXXXVI (November 1966), 80-81. "Anecdote of Japanese Bands: Part 33," Band Journal, LXXXVII (December 1966) , 78-79. Kunieda, Taro. "List of Music Published by Kyodo Music Publishing Company," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), III YDecember 1953), 4. . "Debut Concert Presented by the Tokyo Symphonic Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXXXVI (December 1963), p. 28. . "Second Regular Concert Presented by the Tokyo Symphonic Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXXXVII (March 1964), p. 28. 108 Meguro, Sansaku. "Memory of Band: Part I," Band Journal, CXVIII (July 1969), 54-56. . ”Memory of Band: Part II," Band Journal, CXIX (August 1969), 50-53. . "Memory of Band: Part III," Band Journal, CXX (September 1969), 58-60. . "Memory of Band: Part IV," Band Journal, CXXIII (December 1969), 46-49. Mikami, K., and Teramo, K. "Current Status of the Junior High Bands in Kyoto: Further Problems," Band Journal, CXXXIII (October 1970), 50-52. Mito, Tomoaki. "Trumpet or Cornet," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), I (October 1953f, 4. . "Question and Answer," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), II (November 1953), 2. . "The Self-Defense Army Band," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XVVTJanu- ary 1955), 3. . "Interview with Colonel Howard," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XXXII (June-July 1956), 3. . "The Municipal City Band of Osaka," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXXVI (February 1962), 24. . "Review of Band Methods," Gekkan Suisogaku Kenkyu_(Monthly Band Research Journal), LXXXIII (March 1963), 15. Nakatake, Kazuichi. "Solution to the Transposing and Non- Transposing Parts,” Gekkan Suisogaku Kenkyu(Monthly Band Research Journal), XVI (February 1955), . Nakamura, Masao. "My Choice Piece for Contests," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LI (February 1959), 4. Oishi, Kiyoshi. "My Opinion of Notation of Bass," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XXXV (October 1956), 5. 109 Oishi, Kiyoshi. "History of Tokyo University of Arts Band," Band Journal, XXII (July 1961), 50-51. . "Nineteen Sixty-Three Record of Events in the Music World--Band,” Ongaku-Nenkan (Music Year Book), XVI (December 1963), 49-58. Reed, Alfred. "The Composer and the College Band,” Music Educators Journal, XLVIII, No. 1 (September- October 1961), 51-53. Shinno, Terumi. "School Bands in the United States: Part I," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXXXV (September 1963), 27-29. . "School Bands in the United States: Part II," Gekkan Suisogaku Kenkyu (Monthly Band Research Jour- nal), LXXXVI (December 1963), 22-23. Sugahara, Meiro. "My Opinion of the Notation of the Bass Instruments," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal , XXII (August 1955)} I. . "The Municipal City Band of Osaka," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXXVI (February 1962), 24. Suma, Yosaku. "Olympic Games in Rome and Bands in Europe," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXIV((December 196077i4-9. Tsujii, Ichitaro. "Japanese Band Music," Band Journal, XXXVIII (November 1962), 12-13. "General Review of the 1962 All-Japan Band Con- test," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXXXII (February l963),fi5. "Charming Sound and Experiment on Instrumenta- tion," Band Journal, CXXXII (July 1971), 28-29. Yamamoto, Masato. "Direction of School Bands," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XVII (March 1955), l. . "General Review of the All-Japan Band Contest 1960,” Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), LXV (January 1961), S. Yamamoto, Susumu. "Establishment of Educational Objectives for School Bands," Band Journal, CXI (December 1968), 26-28. 110 Yano, Kiyoshi. "My Desire for a Minimum Band Instrumenta- tion of Thirty-Five Players," Gekkan Suisogaku Kenkyu (Monthly Band Research Journal), XXXVI (November 1956), 12. Personal Letters Akiyama, Toshio. Currently Vice-President of the All-Japan Band Association and the International Secretary of the Japan Bandmasters Association. April 17, 1974; May 4, 1974; June 12, 1974. Fujisawa, Masako. Student in the first graduating class of the Yamaha Band Directors Course (1968). June 11, 1974. Furukawa, Toru. Editor of Ongaku-no-Tomo Sha Publishing Company, Tokyo. June 14, 1974. Hirooka, Yoshio. Honorary Life President (1969- ) of the Japan Bandmasters Association. November 5, 1973; May 20, 1974; November 25, 1973; June 27, 1974. . Inagaki, Nobuya. Band Director at Toho Senior High School, Nagoya, Japan. April 18, 1974. Ite, Yoshio. Officer of Information of the Self-Defense Navy Band, Tokyo. April 8, 1974. Kaneda, Bin. Assistant Professor of Music at Gifu Uni- versity, Gifu, Japan. May 29, 1974; June 24, 1974. Katayama, Masami. Commander of the Self-Defense Navy Band (1963-1967), Tokyo. April 3, 1974. Kawasaki, Masaru. Instructor of Music at Tokyo University of Arts, Tokyo, and a member of the Japan Band- masters Association. March 25, 1974; June 25, 1974. Kunieda, Taro. President of Kyodo Music Publishing Company, Tokyo. April 29, 1974. Macaluso, Master Sergeant Dominick. Administrative Assist- ant of the United States Army Field Band, Washington, D.C. April 25, 1974. Matsumoto, Hideki. Commander of the Tokyo MetrOpolitan Police Band (1967- ). February 5, 1974. 111 Matsuoka, Shimpei. General Manager of Zen-on Music Pub- lishing Company, Tokyo. June 6, 1974. Nagano, Keisaku. Director and Conductor (1972- ) of the Municipal City Band of Osaka, Osaka. May 8, 1974. Nozu, Kei. Consultant of the Tenri High School Band, Nara, Japan. May 20, 1974. Oishi, Kiyoshi. Director of the Wind Ensemble at the Tokyo University of Arts, Tokyo, and the Vice- Chairman of the Board of the Japan Bandmasters Association, Tokyo. February 20, 1974; March 7, 1974; April 8, 1974; April 27, 1974; June 18, 1974. Omuru, Yuichi. Instructor of Saxophone at Kunitachi Academy of Music, Tokyo. April 19, 1974; May 8, 1974. Saitoh, Takanobu. Commander of the Self-Defense Air Force Band (1971- ), Tokyo. April 11, 1974. Sawano, Ryujiro. General Manager of the Tokyo Symphonic Band, Tokyo. June 17, 1974. Simmons, Staff Sergeant James. Associate Director of Information of the United States Air Force Band, Washington, D.C. April 15, 1974; June 6, 1974. Suma, Yosaku. Commander of the Self-Defense Army Band (1954-1963), Tokyo. May 3, 1974. Tokutsu, Takeshi. Band Director of the Imazu Junior High School, Hyogo, Japan. April 15, 1974. Tsujii, Ichitaro. Director and Conductor (1947-1972) of the Municipal City Band of Osaka, Osaka. February 9, 1974. Tsunekazu, Hideo. Deputy Director of the Tokyo Metro- politan Fire Department Band, Tokyo. January 23, 1974. Volkwein, Walter E. President of Volkwein Brothers Inc., Pittsburgh, Pennsylvania, and Honorary Life Member of the Japan Bandmasters Association. June 5, 1974. Walters, Harold. Member of the American Bandmasters Asso- ciation and composer-arranger for Rubank, Inc., Miami, Florida. June 12, 1974. 112 Yamaguchi, Tsunemitsu. Honorary Life President of the Japan Bandmasters Association (1967- ). August 20, 1973; September 7, 1973; November 6, 1973; January 4, 1974; January 15, 1974; January 17, 1974; January 23, 1974; February 15, 1974. Yoshida, Kazumoto. Librarian for the Tokyo University of Arts, Tokyo. November 16, 1973. Dissertations Mita, S. "A Comparative Study of the Preparation of School Music Teachers." Ph.D. dissertation, Michi- gan State University, 1957. Personal Interviews Akiyama, Toshio. Currently Vice-President of the All-Japan Band Association and the International Secretary of the Japan Bandmasters Association. Tokyo, Japan, September 4, 1971. Kawasaki, Masaru. Instructor of Music at Tokyo University of Arts, Tokyo, and a member of the Japan Band- masters Association. Tokyo, Japan, September 6, 1971. Kunieda, Taro. President of Kyodo Music Publishing Company. Tokyo, Japan, September 5, 1971. Oishi, Kiyoshi. Director of the Wind Ensemble at the Tokyo University of Arts, Tokyo, and the Vice-Chairman of the Board of the Japan Bandmasters Association. Tokyo, Japan, September 7, 1971. Reed, Alfred. Professor of Music at the University of Miami. Miami, Florida, May 8, 1974. Walters, Harold. Member of the American Bandmasters Association and composer-arranger for Rubank Inc. Miami, Florida, June 7, 1974. Yamaguchi, Tsunemitsu. President of the Japan Bandmasters Association (1967-present). Tokyo, Japan, September 9, 1971. 113 Other Sources A Complete Catalog of Band Music. A brochure published by Toa Ongaku Shuppan Sha, Tokyo, 1974. Constitution and By-Laws of the Japan Bandmasters Associ- ation. lst ed. Tokyo: Japan Bandmasters Associ- ation (Nippon Suisogaku Shidosha Kyokai Kiyaku), 1967. Constitution and By-Laws of the Japan Bandmasters Associ- ation. 2nd. ed. Tokyo: Japan Bandmasters Asso- c1ation (Nippon Suisogaku Shidosha Kyokai Kiyaku), 1969. Constitution and By-Laws of the Japan Bandmasters Associ- ation. 3rd ed. Tokyo: Japan Bandmasters Associ- ation (Nippon Suisogaku Shidosha Kyokai Kiyaku), 1973. Fifteenth All-Japan Band Contest Sourvenir Program. Tokyo, Japan, 1967. First Tokyo UniversitLof Arts Souvenir Band Concert Pro- gram. Tokyo, Japan, 1951. Fukai, Shonosuke, ed. Current Situations and Problems of Junior High School Bands in Sapporo. A brochure prepared by the Sapporo School Band Directors Research Conference, Sapporo, Japan, 1971. The Goldman Band-Guggenheim Memorial Concert Program. New York, July 24, 1963. Nippon Suisogaku Shidosha Kyokai no Ayumi (History of the Japan Bandmasters Association). A brochure pre- pared by the Japan Bandmasters Association. Tokyo: Japan Bandmasters Association, 1973. Ongaku-no-Tomo Sha Concert Band Series. A brochure pub- lished by Ongaku-no-Tomo Sha, Tokyo, Japan, 1974. Second Tokyo University of Arts Souvenir Band Concert Program. Tokyo, Japan, 1952. Seventeenth All-Japan Band Contest Souvenir Program. Nagoya, Japan, 1969. Third Tokyo University of Arts Souvenir Band Concert Pro- gr m. Tokyo, Japan, 1952. 114 Thirteenth Municipal City Band of Osaka Concert Program. Osaka, Japan, 1966. Tokyo MetrOpolitan Police Band Concert Programs. Tokyo, Japan, November 7, 1973; November 16, 1973. United States Army Field Band Concert Programs. Yokohama, Japan, May 12, 1958; May 13, 1958. Yamaha Band Music Series. A brochure prepared by the Yamaha Music Development Corporation, Tokyo, Japan, 1967-1968. "11111114111)"1111i“