MA, Kent State University, 2019, College of the Arts / School of Music, Hugh A. Glauser

In this thesis, I examine the emerging field of ecomusicology, past, present, and future. I explore the subject of 'what is music' within the context of ecomusicology and suggest musicians and non-musicians alike often place sounds within a musical hierarchy. Humanly organized sounds are viewed as most musical, while natural sounds and unorganized sound are viewed as less musical. I posit ecomusicologists conceptualize music as a spectrum rather than a hierarchy and in doing so, place a higher value on nature than those who ascribe to a hierarchy of music. I provide models for each of these views of music and address varying gender identities' relationship with nature and the model to which they ascribe. Finally, I broaden the scope of ecomusicology by narrowing in on a specific location, Japan, and a specific instrument, the shakuhachi. I address how Japanese culture views music and nature ecomusicologically in comparison to Western thought, and I compare gender issues in Japan and surrounding the shakuhachi with similar issues in the West. I posit that the Japanese shakuhachi is an ideal advocate for the environment and for women due to its philosophical and gendered history, playing technique, repertoire, and physicality as the roots and stalk of bamboo.

Committee: Andrew Shahriari Dr. (Advisor); Jennifer Johnstone Dr (Committee Member); Joe Clark Dr. (Committee Member) Subjects: Asian Literature; Asian Studies; Environmental Education; Environmental Philosophy; Environmental Studies; Ethics; Ethnic Studies; Folklore; Gender; Gender Studies; Geography; Music; Music Education; Performing Arts; Philosophy

DMA, University of Cincinnati, 2010, College-Conservatory of Music: Saxophone

The compositions of Ryo Noda are performed in virtually every major university and saxophone studio throughout the world, and yet there is very little published to help the performer understand and prepare Noda's unique contemporary saxophone techniques, many of which are based and shakuhachi flute gestures. Saxophone teachers often recommend listening to shakuhachi when preparing the compositions of Noda, but there is a need for explanation of the techniques specific to the shakuhachi flute. This performer's guide will help saxophonists prepare and perform two compositions of Japanese composer Ryo Noda, Improvisation I and Mai. This document will provide foundational exercises designed to prepare the performer for the unique challenges represented in Improvisation I and Mai. It will also provide a detailed explanation of all notation and techniques as well as a musical and cultural context with which to prepare a culturally informed performance practice.

Committee: James Vanmatre MM (Committee Chair); David Adams MM (Committee Member); Bradley Garner DMA (Committee Member) Subjects: Music

Master of Music (MM), Bowling Green State University, 2010, Music Ethnomusicology

The shakuhachi is a bamboo flute that came to Japan from China during the Nara Period (646-794 CE) and has since been affiliated with traditional Japanese culture. Thanks to the processes of globalization, the shakuhachi and other indigenous Japanese traditions have flourished in other parts of the world, especially in the United States. In the U.S., a shakuhachi subculture has developed in recent decades, consisting of shakuhachi camps, online and in-person forums, lessons with licensed teachers, and performances/concerts. This shakuhachi subculture is flourishing and growing intensely; however, there is very little ethnomusicological research on this growing phenomenon that is making its mark in the United States. Within the past two years, I have been investigating this subculture by joining the community as a student shakuhachi player, as a member of the shakuhachi web forums, and by attending shakuhachi camps and performances. This ethnomusicological project explores the dynamics of the shakuhachi subculture by tracing the shakuhachi's history to and practices within the United States. It also provides an explanation of the instrument's transnationality by highlighting the different dichotomies and boundaries that are transcended, “landscaped,” and “glocalized.”

Committee: David Harnish (Advisor); Katherine Meizel (Committee Member) Subjects: Music