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武満徹作品と「日本的な音楽」との関係についての一考察 : 邦楽器を使用した作品を中心に
https://doi.org/10.15027/18349
https://doi.org/10.15027/1834933610c48-751e-4f09-8c99-62b258e290d5
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
AA11618725_55_425.pdf (464.2 KB)
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| Item type | デフォルトアイテムタイプ_（フル）(1) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2023-03-18 | |||||||||
| タイトル | ||||||||||
| タイトル | 武満徹作品と「日本的な音楽」との関係についての一考察 : 邦楽器を使用した作品を中心に | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | An examination of the relationships between Japanese music and the music of Toru Takemitsu focusing on the works of the composer written with traditional instruments. | |||||||||
| 言語 | en | |||||||||
| 作成者 |
濵本, 恵康
× 濵本, 恵康
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| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | traditional instruments | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | traditional music | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Japanese style | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | Western style | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 邦楽器 | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 伝統音楽 | |||||||||
| 主題 | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 日本的 | |||||||||
| 主題 | ||||||||||
| 主題Scheme | NDC | |||||||||
| 主題 | 760 | |||||||||
| 内容記述 | ||||||||||
| 内容記述 | Toru Takemitsu occupies an important position in Japanese contemporary music. While writing in the Western tradition, in much of his music for Japanese and Western instruments, he is recognized as a composer who preserves a particular Japanese identity bringing his awareness of Japanese traditional music and Western music into an original synthesis. In this paper this author questions the commonly held assumptions up to now of the "Japanese-ness" of the music of Toru Takemitsu. In terms of Western music we can see two important compositional approaches. The first is the development of a single musical motif into larger masses of material. The second, the opposite of the first, is a gradual simplification of material by moving from textures of great complexity to simpler textures through reduction. However, in the case of the music of Takemitsu, considering the present strong appeal for a revival of Japanese traditional music, it is hard to say which approach is most strongly reflected in his music. Music is primarily an abstract art. Physical speaking, a single musical note, consisting of a combination of various pitches, dynamics and waves, is only sound. But if we scan an entire composition, we can see that music is a form of art that conspicuously maintains its physical character. However, without being able to hear this physical character, we are only unable to grasp the surface of the music. Therefore, music is commonly thought to be an abstract form of art. So can we indeed refer to the "Japanese" and "Western" aspects of the music of Takemitsu? This paper examines the abstract music of the composer through an analysis of his compositions written for traditional Japanese instruments. | |||||||||
| 言語 | en | |||||||||
| 出版者 | ||||||||||
| 出版者 | 広島大学大学院教育学研究科 | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| 出版タイプ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.15027/18349 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 収録物識別子 | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 1346-5554 | |||||||||
| 収録物識別子 | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AA11618725 | |||||||||
| 開始ページ | ||||||||||
| 開始ページ | 425 | |||||||||
| 書誌情報 |
広島大学大学院教育学研究科紀要. 第二部, 文化教育開発関連領域 Bulletin of the Graduate School of Education, Hiroshima University. Part. II, Arts and science education 号 55, p. 425-430, 発行日 2007-03-28 |
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| 旧ID | 18349 | |||||||||
