About Myself（11 November 2001）

Email:
ataniguc@mailer.fsu.edu

Ph. D candidate of the Florida State University, majoring in historical musicology.

CELOP (Center for English Language and Orientation Programs), Boston University.

Tokyo Gakugei University (Tokyo University of Liberal Arts), Master of Education, majoring in musicology.

Niigata University, majoring in music education, with the emphasis on vocal performance and piano as a minor.

American Music (Art Music of the 1930s)

Dissertation (in process)
"Music for the Microphone: The Social, Cultural, and Musical Context for American Concert Music in the Golden Age of Radio."
(Click here to read the Prospectus without Bibliography)

Thesis (M.A., Florida State University)
"Roy Harris's Third Symphony: An American Symphony?"

ABSTRACT

Roy Harris was one of representative composers of twentieth-century American music. He established its identity through various abstract musical genres such as the symphony and sonata. His Third Symphony in One Movement (1939) particularly marked a significant turning point in American music history.

Altough his music was based on various idioms from Europe, it has distinctive elements which make his music sound American. Harrisユs many and various musical experiences gave him definite ideas on how to become an American composer. Such experiences not only include his early training on the piano but also musical inspiration from vernacular landscapes of his native lands: Oklahoma and Carifornia.

Harris was so faithful to his own musical view that he refused theoretical, musical training from Nadia Boulanger in Paris, and he studied Beethoven and early music by himself. Based on the Western musical traditions that he choose to learn, Harris created his own musical language. One of the most significant achievements in Harris's style is a unique mixture of major and minor keys. It was based on the "common-tone relationship," which enabled Harris to extend conventional, functional European harmony to his own idiom. Harris's melodies often last more than twenty measures because of this common-tone relationship, and his rhythm is complex with compound meters or unusual accents.

This thesis has two separate discussions.
(1) Analysis of Roy Harris's music, especially focusing on his Third Symphony. Hisorical background to understand the piece and thought on Harris's position in the American music history.

(2) To present a way of teaching contemporary music with a "conceptual" approach based on the American text book, Silver Burdett's Music.

With a performance: Movements 1, 2, and 4 from Mahler's Lieder eines fahrenden Gesellen (Niigata Ongaku Bunka Kaikan, Niigata, Japan)

News column for ExMusica (Quarterly-published musical journal for academic and enthusiastic readers)

Volume 0 (March 2000): "Disney" Symphonies; John Harbison's Great Gatsby; Charles Ives publications (new edition of Ives 's songs and a catalogue)

Volume 1 (June 2000): Aaron Copland's 100th Anniversary (New York Philharmonic's Copland Festival; "Copland at Home and at Work" [The Copland Heritage Association], Orchestral and operatic performances (Minnesota Symphony, Seattle Symphony etc.)

Volume 2 (September 2000): Obituary of Alan Hovhaness; The World Pemier of Minoru Miki's "The Tale of Genji."

Volume 3 (December 2000): Currents in American Music: More Diverse Ecleticism, A New Audience for "Experimental" Music.

Volume 4 (March 2001): "Bang on a Can;" Tanglewood Contemporary Music Festival; Elliot Carter

Volume 5 (September 2001): American "New" Music Looking for a New Direction (Controversy over the National Symphony and Michael Kamen; New York Time's article on recent American music etc.)

Leonard Slatkin conducted American-music programs.

Program A: Variations on "America" (Ives-W. Schuman), Violin Concerto (Barber; Pamera Frank was the soloist), Third Symphony (Copland)

Program B: Fantasia on the Theme of Thomas Tallis (R Vaughan Wiliams), Piano Concerto (Barber; John Browning was the soloist), First Symphony (Brahms)

Program C: "Oberon" Overture (Weber), Cello Concerto (Barber; Steven Issalis was the soloist)., Fifth Symphony (Tchaikovsky)

The program note for Barber's Piano Concerto was reused as the liner notes for the CD: Sony Classical (Japan) SRCR 2560 (w/John Browning, piano; The Cleveland Orchestra; George Szell, conductor; c/w William Schuman's A Song of Orpheusand Prokofiev's First Piano Concerto).

No. 14 (November 15, 1999): "Musical Culture in a Small Town" (What is going on a small town like Tallahassee, comparing to its typical Japanese counterpart)

No. 19 (March 1, 2000): "My Uncomfortable feeling with National Anthems" (Shocking experience on the Fourth of July: Why Americans sing the national anthem so happily and with no reluctancy?; history and nationalism)

No. 21 (April 1, 2000): "Silence is a Crime" (Protest against Japanese people's indifference toward their national anthem, which was forced, by the governmental officers, to be sung in school ceremonies, after the legalization of the national flag and anthem)

No. 36 (December 15, 2000): "Shouldn't We Reevaluate the Importance of Software?" (Propose to think about the importance of software in music and our world again; I think that our techonological mind may have gone too far just for hardware)

(1) Recent Crisis in American Orchestras (boycotts, less recordings of "standard" repertoire, looking for unusual music, etc.)
(2) Currents in American musicological publication (Literal model for the critical analysis of the 19th-century music; early music studies with CD, helping us with dictation, etc.)
(3) Reception of Japanese Pop Music in the U. S. (The Japanese do not care for any "Japanese"-nees in the music, while non-Japanese have been looking for "traditional," streotyped Japanese characteristics in music)

Research Assistant for the history department, Florida State University
(November 1998 to April 1999)

I conducted a research on recordings of WWII songs.  The history department planned to make a recording, featuring readings of WWII veteran's letters combined with the music that captures each letter's emotional content or historical context.

American Musicological Society, Southern Chapter, Annual Meeting, New Orleans. February 19, 2000.

MUSIC FOR THE MICROPHONE: AMERICAN MUSICAL COMPOSITIONS COMMISSIONED BY NETWORK RADIO STATIONS IN THE GOLDEN AGE OF RADIO

ABSTRACT

Before World War II and before the advent of television, radio broadcasting was perhaps the most popular entertainment media, competing with the phonograph and with the movies. During this period, "the Golden Age of Radio," network radio stations provided the easiest popular access to news, sports, dramatic productions, and music.

Network radio, in fact, not only broadcasted music, it patronized composers. With competitions and commissions, radio stimulated creativity, and created new audience with elevated aesthetic expectations. In 1932, for instance, NBC network established a competition named the NBC Orchestra Award, which led more than 500 composers to submit new works. In 1938 and 1939, CBS commissioned twelve composers to write pieces specifically for radio broadcasting. Participating composers included famous figures like Aaron Copland, Louis Gruenberg, Howard Hanson, Roy Harris, and William Grant Still.

The composers' effective and efficient utilization of the radio medium signified the popularization of modern aesthetics, concepts, and applications. The score of William Grant Stillユs Lenox Avenue, for instance, comes with notes for the conductor, narrator, and radio- engineer. Louis Gruenberg's opera, Green Mansions, employs a musical saw combined with a human voice to create a supernatural sound effect.

Radio's endowment of art music influenced the nation, as well. People from various social classes shared the same listening experience at one time. Composers, recognizing such a social impact of radio, wrote "accessible" pieces without using modern, atonal musical languages.

How to Prepare for an Oral Presentations in the Seminar?
Niigata University, Japan, 1991

Recent Japanese Pop Music, focusing on the use of the rap in Glove's Joy to the World.
International Student and Scholar Center, Florida State University (January, 1996)

Demonstration of the Koto
International Student and Scholar Centuer, Florida State University (1997?)

Hosting a radio show featuring American art music.  FM-Niitsu, Niigata, Japan

My program, "Mr. T's American Music 101," is on the air once a month as a part of the weekly series-program, "Dr. Yokosaka's Kura-kura Classic."  I write scripts and choose pieces for each episode.  The station plays music and program hosts there make additional comments.

The English pages focus on somthing Japanese with my reading journal, which frequently deals with books on music.  The Japanese pages deals with American art music.  I introduce recordings of various American pieces with my brief commentary (a few people contributed commentaries.  Thanks!).  The Japanese site also presents all the scripts for the radio show mentioned above.

Appeared in a radio show for a non-commercial promotion of Japanese pop music.
WVFS（89.7 FM), Tallahassee, Florida, 8-10pm, February 15, 1998

Driver's Licence
Japan, The State of Florida

Twentieth-Century Music

Japanese Music (including popular music and folk performing-arts)

Music Education

World Music

Antonio of The Marriage of Figalo (Mozart), Niigata University Opera Workshop Production, Niigata Bunka Kaikan, sung in Japanese, 1987

Gliermo of Cosi fan tutte (Mozart), Niigata University Opera Workshop Production, excerpted, sung in Japanese with the piano accompaniment, 1989

Choral conducting for the Niigata University Kammerchor.

Tristes est anima mea(Lasso) etc.

Niigata University Symphony Orchestra (2 years)
Niigata University Music Department Orchestra (2 years)

Played the recorder at the Collegium Musicum, Florida State University (4 semesters)