The Japanese musician in France or the franco-japanese musical relations

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1 The Japanese musician in France or the franco-japanese musical relations Abstract At the opening of the Meiji era, at the late XIX th century, the training of Japanese musicians had been subjected to the cultural and political constraints of the western countries. Given a choice between the European education, mainly dominated by the Germanic and French schools, or the teaching influenced by the United States of America, the Japanese musician sometimes had to learn with the risk of loosing his own cultural identity. However, Japanese artists seems to have maintained the ontology of their music, while having assimilated some of the Western cultures characteristics. Conversely, early in the twentieth century, some European musicians found inspirations in the Japanese culture, inspirations that could give a new life to a musical discourse that seemed to wither between dogmatic struggles and the exhaustion of their society. The relationships between Japanese musicians and France in this context will be the subject of those first days of reflexion, to be held at the Conservatoire de Paris (Paris Conservatoire). Announcement International Colloquium «The Japanese musician in France and in the USA, the play of mutual influences», Aix Marseille Université, Université Paris Sorbonne, Université Marne- La-Vallée, INA-GRM et le Conservatoire de Paris (CNSMDP), the february 4 th, 5 th and 6 th of At the opening of the Meiji era, at the late XIX th century, the training of Japanese musicians had been subjected to the cultural and political constraints of the western countries. Given a choice between the European education, mainly dominated by the Germanic and French schools, or the teaching influenced by the United States of America, the Japanese musician sometimes had to learn with the risk of loosing his own cultural identity. However, Japanese artists seems to have maintained the ontology of their music, while having assimilated some of the Western cultures characteristics. Conversely, early in the twentieth century, some European musicians found inspirations in the Japanese culture, inspirations that could give a new life to a musical discourse that seemed to wither between dogmatic struggles and the exhaustion of their society. The relationships between Japanese musicians and France in this context will be the subject of those first days of reflexion, to be held at the Conservatoire de Paris (Paris Conservatoire).. A second colloquium will be held in Japan and discuss the impact of Western culture on the Japanese composition, performance, education and music scene, and the impact of the discovery of Japanese culture on Western musicians. A third symposium will be held in Canada that address the reciprocal influences between Japan and North America (Canada, USA) in the twentieth and twenty-first century. At the first conference organized in France, we would like to discuss the influence of the French musical world (musical institutions, composers and performers) on Japanese musicians from the Meiji era to the present. We will address the four following topics : Composition and musical creation Interpretation Musicology Pedagogy 1

2 Coming in France, are the Japanese musicians only seeking to reach any specific musical skills? Why a young Japanese musician chooses France to further his musical education? Are there specific compositional properly French, some national skills? What kind of roles may have our major musical institutions in this attraction? These questions are to be asked in all the areas listed above, and should provide further insights into the mutual links of our stories. In this first symposium, we will focus on the reasons for such an appeal of French music on the Japanese musicians, and the marks they may have left, not forgetting the impact that may have had in turn the Japanese musicians on the French ones. Each topic is declined into some directions for the scheduling of these first days : a) Composition and musical creation : - influences of french music on japanese music - between musical notation and musical thought - composition teacher's role; - stylistic trends influences; - contemporary institutions influences (GRM, IRCAM, etc.) - creation centers - why coming in France to study? b) Interpretation - great masters and performers influences - expressivity influences, or the French school myth - influences of the French way of conducting - competitions roles - analysis and technics - chamber music interpretation c) Musicology - influence of French musicology, from Maurice Emmanuel to the present - some sights on the french patrimony - a french methodology - musicologic exchanges between France and Japan d) Pedagogy - influences of French pedagogical models on the japanese pedagogy - influences of the French musical institutions on Japanese institutions - the role of the Japanese students in French insitutions - which academical teaching program for which music professional - comparison of the French and the Japanese musical pedagogies - influence of the interpretation, composition and solfege pedagogies on Japanese musicians Bibliography : Burt, Peter, The Music of Tōru Takemitsu, Cambridge, Cambridge University Press, 2006, 308 p. Chen, Hui-Mei, «L'osmose de la culture traditionnelle et de l'écriture occidentale dans deux œuvres pour flûte seule d'isang Yun et Yoshihisa Taïra», mémoire de Dea, sous la direction d Hugues Dufourt, Ircam/Sorbonne, Chen, Hui-Mei, Les influences et les sources d'inspiration de la musique de Yoshihisa Taïra, thèse de doctorat, sous la direction de Marc Battier, Paris-Sorbonne, Denut, Eric, «Après les déchirements. Un panorama de la musique japonaise contemporaine» dans Dissonance n 86, Mai 2004, Zurich, Association Suisse des Musiciens. Eppstein, Ury, The Beginnings of Western Music in Meiji Era Japan (Studies in the History and Interpretation of Music Vol.44), Lampeter, The Edwin Mellen Press, 1994, 158 p. Galliano, Luciana, Yōgaku, Japanese Music in the Twentieth Century, Lanham, Scarecrow Press, 2

3 2002, 357 p. Heifetz, Robin J., «East-West Synthesis in Japanese Composition : », dans The Journal of Musicology, Vol. 3, N 4 (Automne 1984), p Herd, Judith Ann, «Change and continuity in contemporary japanese music : a research for a national identity», Ph. D. Thesis, Brown University, Journal of Asian Studies, Vol. 54, N 3 (août 1995), p Long, Stephen, «Japanese Composers of the Post-Takemitsu Generation» dans Tempo n 228, avril 2004, Londres, Calum MacDonald éditeur. Long, Stephen, «Composers of the Post-Takemitsu Generation», dans Tempo, Vol. 58, N 228 (Avril 2004), p Loubet, Emmanuelle, «The beginnings of electronic music in Japan, with a focus on the Morris-Suzuki, Tessa, «The Invention and Reinvention of "Japanese Culture"», dans The N 228 (Avril 2004), p NHK Studio: The 1970s», dans Computer Music Journal, Vol. 22, N 1 (Printemps 1998), p Publications Orientalistes de France, 2001, 175 p. Reynolds, Roger, A jostled silence : contemporary musical thought in Japan, manuscrit, Paris, Ircam, 188 p., extraits publiés in Perspectif of Music, vol. 30, n 1, 1992, p , vol. 30, n 2, 1992, p , vol. 31, n 2, 1993, p Shiono, Eiko, «Yoshihisa Taïra : un compositeur japonais dans la France d'aujourd'hui», mémoire de maîtrise, Paris-Sorbonne, sous la direction de Danièle Pistone, Tamba Akira et Imamichi Tomonobu (éd. ), L Esthétique contemporaine du Japon : Théorie et pratique à partir des années 1930, Paris, CNRS, Tamba Akira, Musiques traditionnelles du Japon, Paris, Cité de la Musique/Actes sud, 1995, 2001 (nouvelle édition), 160 p. Wilkinson, Endymion, Le Japon face à l'occident, Bruxelles, Éditions Complexe, 1992, 388 p. Yamada, Shōji, Shots in the dark : Japan, Zen and the West (traduit du japonais par Earl Hartman), Chicago, University of Chicago Press, 2009 (2005), 304 p. Terms The lectures proposals (written in French or in English) have to be sent as an abstract of 1500 signs, a developped text of 5000 signs (with spaces), and with a short curriculum vitae, at : pascal.terrien@univ-amu.fr, florent.caron@gmail.com, nicolas.munck@hotmail.fr, tamamo.n.m@gmail.com before the : 15 th of february Results will be announced before the 30 th of May Symposium will be held from thursday 4 th to saturday 6 th in Paris. Scientific team : Marc Battier, Université Paris-Sorbonne Hui-Mei Chen, Université de Taïwan Inoué Satsuki, Université Aichi-Geidai Osamu Tomori, Université de Kunitachi Laurent Pottier, Université de Saint-Etienne Yves Balmer, Ecole normale supérieure de Lyon, Conservatoire de Paris (CNSMDP) Friedemann Sallis, Université de Calgary Denis Huneau, Université catholique de l Ouest Fabrice Marandola, McGill University 3

4 Christopher Moore, Université d Ottawa Kevin Dahan, Université de Marne-La-Vallée Pascal Terrien, Aix-Marseille Université, Conservatoire de Paris (CNSMDP) Nicolas Donin, IRCAM, Paris James Giroudon, GRAME, Lyon Bruno Mantovani, compositeur & Directeur du Conservatoire de Paris Daniel Truggi, compositeur et directeur de l INA-GRM Hope Lee, compositrice Canada (sous réserve d acceptation) David Eagle, compositeur, Canada Susumu Yoshida, compositeur Misato Mochizuki, compositrice Malika Kishino, compositrice Claude Ledoux, compositeur Allain Gaussin, compositeur Alain Poirier, Conservatoire de Lyon (CNSMDL) Emmanuel Ducreux, Conservatoire de Lyon (CNSMDL) Serge Cyferstein, Conservatoire de Paris (CNSMDP) Yuko Sonoda, Professeur de piano C.A. Tamamo Nagai, Doctorante, Paris-Sorbonne Nicolas Munck, CNSMD de Lyon, Doctorant Université de Saint-Etienne Florent Caron-Darras, CNSMD de Paris Organization team : Pascal Terrien, Aix Marseille Université (EA 4671-ADEF), Conservatoire de Paris (CNSMDP) Florent Caron-Darras, CNSMD de Paris Nicolas Munck, Doctorant Université de Saint-Etienne, Conservatoire national supérieur de musique et de danse de Lyon Tamamo Nagai, Doctorante, Paris-Sorbonne Yuko Sonoda, Professeur de piano C.A. Place : Conservatoire de Paris, 229 avenue Jean Jaurès, Paris 75019, Université de Marne-la-Vallée, Université de Paris Sorbonne. Date : Symposium will be held from thursday 4 th to saturday 6 th in Paris. Key Words: Music, Music Creation, Music Performance, Training and Pedagogy, Musicology, Sociology Contacts: Pascal Terrien : pascal.terrien@univ-amu.fr Nicolas Munck : nicolas.munck@hotmail.fr Tamamo Nagai : tamamo.n.m@gmail.com 4

5 Florent Caron-Darras : florent.caron@gmail.com Yuko Sonoda : sonoda.yuko@gmail.com With this exchange program, a second workshop is planned in Kunitachi College of Music, Tokyo, on 13 and 14 May The date of the Canadian conference will be announced later. 5