武满彻中期作品研究
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摘要
本论文的研究对象是日本当代最具国际影响力的作曲家武满彻(1930-1996)的中期音乐创作(1958-1977)。武满彻的中期创作所经历的约二十年时间，正是西方音乐界经过战后十年的恢复和反思，进入先锋音乐创作的鼎盛时期，各种创作观念、技法对日本音乐界产生了极大的影响，此时的武满彻已经获得一定的国际声誉，与西方音乐界的接触和交流十分频繁和深入，他的创作以自身独特的风格汇入到这一运动中。此外，武满彻中期创作还经历了“凯奇冲击”的强烈影响和对自身文化的“重新发现”和认识，促使他主动和深入地思考日本传统音乐的美学和吸收传统音乐元素，并反映在创作实践中。
鉴于目前国外对武满彻创作的总体风格和观念特征的研究已获得充分成果，对于单部作品或有关联的数首作品的研究也较常见，但是分期研究还很少见，尤其是聚焦于技法特征的研究更是几近阙如，因而，本论文试图在此方面做些尝试。本文选题的意义在于，通过对武满彻作品的深入研究，有益于更为全面和深入地理解现代音乐的创作观念和技法；本研究亦从一个侧面反映了西方现代音乐创作观念和技法对日本现代音乐的影响，有益于更进一步地研究日本现代音乐创作的整体现状；通过本研究亦可为我们了解与中国同为东方民族的日本，在面临西方音乐观念和技法的冲击和影响下，如何在创作中保持、渗透、融合自身民族的文化因素；从实践的意义上，通过对武满彻中期音乐创作中所体现出的观念、所运用的技法的理解，可以为自己的创作提供些许借鉴。
论文的主旨在于：就武满彻中期作品中的创作技法，从不同的方面(音高、音色、织体、节奏、时间结构等等)进行描述、分析、梳理、归纳、总结，从技法层面的特征揭示其中期创作的风格倾向，在西方先锋音乐发展的整体背景中探讨武满彻中期创作观念中的西方因素、先锋因素、东方因素以及它们在创作中的融合体现。
全文由绪论、五章正文和结语组成。绪论部分，对目前国内外武满彻研究的现状进行概要介绍，对其创作的总体特征进行归纳并探讨了武满彻的创作分期问题：第一章，主要讨论西方音乐的传入对日本现代音乐创作的影响及日本创作界在二十世纪上半叶的基本情况，为讨论武满彻的创作提供一定的历史背景，同时回顾了武满彻的早期生涯和创作：第二章，概括论述了多重影响下的武满彻中期创作，包括对序列音乐的尝试、凯奇音乐思想的影响、对日本音乐文化的反思和“前卫”音乐观念与技法的影响；第三章，主要讨论音高组织问题，揭示武满彻在作品的音高组织方面的技法特征；第四章，梳理武满彻在音色、音响织体方面的基本特征；第五章，聚焦于武满彻作品中节奏、节拍即音乐的时间组织和整体结构方面的处理特征；最后，在结语部分，主要讨论了武满彻独特的创作观念与作品形态及技法的关系，在观念层面上对本文的论述进行概要归纳和引申。
Toru Takemitsu (1930-1996) is famous contemporary Japanese composer who has the greatest effect all over the world. This thesis focuses on Toru Takemitsu's music of his middle period from 1959 to 1977. These twenty-years was a prosperous period of avant-garde style when western music has experienced its revival and introspection for ten years after the War II, kinds of composition concept and technique greatly influenced Japanese music. At this time, Toru Takemitsu has gained public recognition as a composer. Through frequent and deep communication with western music, Toru Takemitsu created his own unique music style. Also, the strong influence of "John Cage's shock" and the "afresh discovery" and cognition of his self-culture promote composer to actively and deeply think about aesthetic of traditional Japanese music and absorb it to his own music language.
In view of there have been abundant research achievements on Toru Takemitsu's general music style and concept character aboard, also frequently on one work or relative works. But there have little research of his works on certain phase, especially less on his music technique. This thesis is trying to deeply research on Takemitsu's music technique, to understand modern music concept and technique comprehensively. On the other hand, the research also reflects the influence of western modern composition concept and technique on Japanese music. It's useful to further research on present situation of Japanese contemporary composition generally. It's helpful for us to realize how Japan—the same Oriental nation as China, to preserve, permeate and integrate national culture elements through research. Practically, we could get much good experience through studying on Takemitsu's music concept and technique of his middle period.
The main purpose of this thesis is to describe, analyze, collect, conclude and summarize through studying on Toru Takemitsu's music of his middle period from different aspects (Pitch, Timbre, Texture, Rhythm and Time Structure, etc), to explore the music style and tendency from the technical aspects, to explore the western elements, avant-garde elements, oriental elements on his music concept and their integration basically on the whole background of western avant-garde music's development.
This thesis includes introduction, five chapters and conclusion. Introduction part studies on brief introduce to present research on Toru Takemitsu's music aboard and in China, concluding and exploring how to phase his composition period through general characters. First chapter studies on how western music influence on Japanese modern music composition and basic situation of Japanese composition circle in the first-half twentieth century. This offers historical background for exploring Takemitsu's music composition. Meanwhile, it reviews the works in composer's early period. Second chapter expounds composer's composition under multiple influences, including attempt to serial-music, affect of Cage's music, introspection on Japanese music culture and affect of "avant-garde"' music concept and technique. Third chapter explores on the technique of pitch organization. Fourth chapter explores the basic character on music color and texture. Fifth chapter focuses on character of rhythm, meter and music timing organization and structure. Conclusion part explores the relationship between composer's music concept, shape, technique, and make conclusion and extension to the whole thesis.
鉴于目前国外对武满彻创作的总体风格和观念特征的研究已获得充分成果，对于单部作品或有关联的数首作品的研究也较常见，但是分期研究还很少见，尤其是聚焦于技法特征的研究更是几近阙如，因而，本论文试图在此方面做些尝试。本文选题的意义在于，通过对武满彻作品的深入研究，有益于更为全面和深入地理解现代音乐的创作观念和技法；本研究亦从一个侧面反映了西方现代音乐创作观念和技法对日本现代音乐的影响，有益于更进一步地研究日本现代音乐创作的整体现状；通过本研究亦可为我们了解与中国同为东方民族的日本，在面临西方音乐观念和技法的冲击和影响下，如何在创作中保持、渗透、融合自身民族的文化因素；从实践的意义上，通过对武满彻中期音乐创作中所体现出的观念、所运用的技法的理解，可以为自己的创作提供些许借鉴。
论文的主旨在于：就武满彻中期作品中的创作技法，从不同的方面(音高、音色、织体、节奏、时间结构等等)进行描述、分析、梳理、归纳、总结，从技法层面的特征揭示其中期创作的风格倾向，在西方先锋音乐发展的整体背景中探讨武满彻中期创作观念中的西方因素、先锋因素、东方因素以及它们在创作中的融合体现。
全文由绪论、五章正文和结语组成。绪论部分，对目前国内外武满彻研究的现状进行概要介绍，对其创作的总体特征进行归纳并探讨了武满彻的创作分期问题：第一章，主要讨论西方音乐的传入对日本现代音乐创作的影响及日本创作界在二十世纪上半叶的基本情况，为讨论武满彻的创作提供一定的历史背景，同时回顾了武满彻的早期生涯和创作：第二章，概括论述了多重影响下的武满彻中期创作，包括对序列音乐的尝试、凯奇音乐思想的影响、对日本音乐文化的反思和“前卫”音乐观念与技法的影响；第三章，主要讨论音高组织问题，揭示武满彻在作品的音高组织方面的技法特征；第四章，梳理武满彻在音色、音响织体方面的基本特征；第五章，聚焦于武满彻作品中节奏、节拍即音乐的时间组织和整体结构方面的处理特征；最后，在结语部分，主要讨论了武满彻独特的创作观念与作品形态及技法的关系，在观念层面上对本文的论述进行概要归纳和引申。
Toru Takemitsu (1930-1996) is famous contemporary Japanese composer who has the greatest effect all over the world. This thesis focuses on Toru Takemitsu's music of his middle period from 1959 to 1977. These twenty-years was a prosperous period of avant-garde style when western music has experienced its revival and introspection for ten years after the War II, kinds of composition concept and technique greatly influenced Japanese music. At this time, Toru Takemitsu has gained public recognition as a composer. Through frequent and deep communication with western music, Toru Takemitsu created his own unique music style. Also, the strong influence of "John Cage's shock" and the "afresh discovery" and cognition of his self-culture promote composer to actively and deeply think about aesthetic of traditional Japanese music and absorb it to his own music language.
In view of there have been abundant research achievements on Toru Takemitsu's general music style and concept character aboard, also frequently on one work or relative works. But there have little research of his works on certain phase, especially less on his music technique. This thesis is trying to deeply research on Takemitsu's music technique, to understand modern music concept and technique comprehensively. On the other hand, the research also reflects the influence of western modern composition concept and technique on Japanese music. It's useful to further research on present situation of Japanese contemporary composition generally. It's helpful for us to realize how Japan—the same Oriental nation as China, to preserve, permeate and integrate national culture elements through research. Practically, we could get much good experience through studying on Takemitsu's music concept and technique of his middle period.
The main purpose of this thesis is to describe, analyze, collect, conclude and summarize through studying on Toru Takemitsu's music of his middle period from different aspects (Pitch, Timbre, Texture, Rhythm and Time Structure, etc), to explore the music style and tendency from the technical aspects, to explore the western elements, avant-garde elements, oriental elements on his music concept and their integration basically on the whole background of western avant-garde music's development.
This thesis includes introduction, five chapters and conclusion. Introduction part studies on brief introduce to present research on Toru Takemitsu's music aboard and in China, concluding and exploring how to phase his composition period through general characters. First chapter studies on how western music influence on Japanese modern music composition and basic situation of Japanese composition circle in the first-half twentieth century. This offers historical background for exploring Takemitsu's music composition. Meanwhile, it reviews the works in composer's early period. Second chapter expounds composer's composition under multiple influences, including attempt to serial-music, affect of Cage's music, introspection on Japanese music culture and affect of "avant-garde"' music concept and technique. Third chapter explores on the technique of pitch organization. Fourth chapter explores the basic character on music color and texture. Fifth chapter focuses on character of rhythm, meter and music timing organization and structure. Conclusion part explores the relationship between composer's music concept, shape, technique, and make conclusion and extension to the whole thesis.
引文
Toru Takemitsu, Confronting Silence, Translated and edited by Yoshiko Kakudo and Glenn Glasow, Berkeley, California: Fallen Leaf Press 1995
Toru Takemitsu, My perception of time in traditional Japanese music, Contemporary Music Review, 1987, Vol. 1, p9-13
Toru Takemitsu, 'Contemporary Music in Japan' Perspectives of New Music 27/2, 1989
A Way A Lone-Writings on Toru Takemitsu, edited by Hugh de Ferranti &Yoko Narazaki, Academia Music Ltd., Tokyo, 2002.
James Siddons, Toru Takemitsu: A Bio-Bibliography 2001 Greenwood Press
Masakata Kanazawa, Toru Takemitsu, The New Grove Dictionary of Music and Musicians, 1980, Vol. 18, p534-535 )
Noriko Ohtake, Creative Sources for the Music of Toru Takemitsu, England: Ashgate Publishing Limited 1993
Peter Burt, The Music ofToru Takemitsu Cambridge University Press, 2001.
Toru Takemitsu Memorial Edition, Edited by Peter Burr, Contemporary Music Review, Vol.21, Num.4, Dec. 2002
武满彻《音乐の余白》新潮社1977
《日本20世纪の作曲》东京：音乐之友社，1999
武田明伦“向存在的深渊坠落的旅途--武满彻初期主要作品”载 武满真樹 齐藤慎爾 编集
『武满徹の世界』集英社1997，p．245-251
彼得·斯·汉森《二十世纪音乐概论》孟宪福译 人民音乐出版社1987
保罗·格里菲斯(英)《现代音乐史略》罗灿煦 何世健译 四川科技出版社1991p．151
布林德尔《新音乐——1945年以来的先锋派》黄枕宇译 人民音乐出版社2001
叶渭渠《日本古代文学思潮史》中国社会科学出版社1996，p．23
叶渭渠，唐月梅著《物哀与幽玄——日本人的美意识》，广西师范大学出版社，2002，
大江健三郎《大江自选随笔集》光明日报出版社2000，p．17
赵晓生《太极作曲系统》上海音乐出版社2006
星旭(日) 《日本音乐简史》李春光译 人民音乐出版社1986
戴维·考克斯(英)《德彪西的管弦乐曲》廖叔同译 人民音乐出版社1987
“鸟、神、色与日本—梅西安与松平赖则对谈”外音参1979第三期，pp．79-80
石井真木“传统音乐和作曲家——新的形式与普及性”外音参1979第三期PP．13-14
周文中(美)“亚洲音乐与西方作品”叶纯之译，载《音乐译文》1982．3
船山隆(日)“以德彪西为新的起点”汤小戎译 上音音研所内部油印资料1980．4
罗传开“武满彻的〈十一月的阶梯〉”上海音乐学院音乐研究所内部油印资料1980．4
诸井诚(日)等“谈以日本传统素材进行作曲的意义”金继文译《世界音乐》1985．1
Toru Takemitsu, My perception of time in traditional Japanese music, Contemporary Music Review, 1987, Vol. 1, p9-13
Toru Takemitsu, 'Contemporary Music in Japan' Perspectives of New Music 27/2, 1989
A Way A Lone-Writings on Toru Takemitsu, edited by Hugh de Ferranti &Yoko Narazaki, Academia Music Ltd., Tokyo, 2002.
James Siddons, Toru Takemitsu: A Bio-Bibliography 2001 Greenwood Press
Masakata Kanazawa, Toru Takemitsu, The New Grove Dictionary of Music and Musicians, 1980, Vol. 18, p534-535 )
Noriko Ohtake, Creative Sources for the Music of Toru Takemitsu, England: Ashgate Publishing Limited 1993
Peter Burt, The Music ofToru Takemitsu Cambridge University Press, 2001.
Toru Takemitsu Memorial Edition, Edited by Peter Burr, Contemporary Music Review, Vol.21, Num.4, Dec. 2002
武满彻《音乐の余白》新潮社1977
《日本20世纪の作曲》东京：音乐之友社，1999
武田明伦“向存在的深渊坠落的旅途--武满彻初期主要作品”载 武满真樹 齐藤慎爾 编集
『武满徹の世界』集英社1997，p．245-251
彼得·斯·汉森《二十世纪音乐概论》孟宪福译 人民音乐出版社1987
保罗·格里菲斯(英)《现代音乐史略》罗灿煦 何世健译 四川科技出版社1991p．151
布林德尔《新音乐——1945年以来的先锋派》黄枕宇译 人民音乐出版社2001
叶渭渠《日本古代文学思潮史》中国社会科学出版社1996，p．23
叶渭渠，唐月梅著《物哀与幽玄——日本人的美意识》，广西师范大学出版社，2002，
大江健三郎《大江自选随笔集》光明日报出版社2000，p．17
赵晓生《太极作曲系统》上海音乐出版社2006
星旭(日) 《日本音乐简史》李春光译 人民音乐出版社1986
戴维·考克斯(英)《德彪西的管弦乐曲》廖叔同译 人民音乐出版社1987
“鸟、神、色与日本—梅西安与松平赖则对谈”外音参1979第三期，pp．79-80
石井真木“传统音乐和作曲家——新的形式与普及性”外音参1979第三期PP．13-14
周文中(美)“亚洲音乐与西方作品”叶纯之译，载《音乐译文》1982．3
船山隆(日)“以德彪西为新的起点”汤小戎译 上音音研所内部油印资料1980．4
罗传开“武满彻的〈十一月的阶梯〉”上海音乐学院音乐研究所内部油印资料1980．4
诸井诚(日)等“谈以日本传统素材进行作曲的意义”金继文译《世界音乐》1985．1