西村朗《光之波》與細川俊夫《風景I》之比較分析暨自我創作分析與研究 A Comparative Analysis of Akira Nishimura’s Pulses of Light and Toshio Hosokawa’s Landscape I and Self-composition

Date
2021
Authors
何宛蓁
He, Wan-Chen
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Abstract
西村朗(Akira Nishimura, 1953- )與細川俊夫(Toshio Hosokawa, 1955- )身為日本當代作曲家,不僅吸收西方的音樂創作語法,也浸染了東方的創作思想。西村朗從東方的宗教、哲學與異域傳統音樂找到了自我的創作定位,東方的音樂精神-「支聲複調」更是他創作的核心;細川俊夫從日本禪學、大自然與冥想中尋找到自己獨特的音樂語法,同時透過作品表達對日本社會的關懷。 本文將探討兩位作曲家如何利用自身的現代創作手法寫作古老的樂種-弦樂四重奏,分別以西村朗的第二號弦樂四重奏《光之波》與細川俊夫的弦樂四重奏作品《風景I》為例。從作曲家們的創作背景,乃至作品的架構、音高、節奏、織度、音色與力度等設計,再從這些創作面向比較兩部作品的異同;最後闡述其對於自身創作的影響。
Akira Nishimura(1953- ) and Toshio Hosokawa(1955- ), as contemporary Japanese composers, not only absorbed Western music composition grammar, but also immersed in Eastern creative ideas. Nishimura has found his own creative position from Eastern religion, philosophy and foreign traditional music. Eastern music spirit-"Heterophony" is the core of his creation; Hosokawa also found it from Japanese Zen studies, nature and meditation, while expressing concern for Japanese society through his works. This article will discuss how the two composers used their own modern creative techniques to write the ancient music genre-string quartet, based on Nishimura's second string quartet Pulses of Light and Hosokawa Toshio's string quartet Landscape I as an example. From the background of the composers, to the structure, pitch, rhythm, texture, timbre and intensity of the works, compare the similarities and differences between the two works from these creative aspects; finally, explain their influence on researcher’s composition.
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西村朗, 細川俊夫, 日本音樂, Akira Nishimura, Toshio Hosokawa, Japanese music
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