湯淺讓二《冬之日・芭蕉讚》分析研究與自我音樂創作之應用

Abstract

本文以日本當代作曲家湯淺讓二（Yuasa Jōji, 1929-）的室內樂《冬之日・芭蕉讚》（A Winter Day: Homage to Bashō, 1981）為主題，輔以其他代表作品，探究並分析其音樂語言，最終以筆者自我創作之分析，論述其音樂語彙對自身的啟發。 湯淺讓二堪稱為自學的作曲家，原先就讀於東京慶應義塾大學（Keio University, Tokyo）藥學系，1952年起活躍於「實驗工房」（Jikken Kōbō），積極參與各種類型的音樂創作。他的音樂秉持前衛風格，是現今仍持續寫作的日本當代作曲家。其音樂語彙包含自學而得的西方技法，並結合日本傳統音樂文化，形成自身獨特的音樂風格。 本文將透過湯淺讓二各時期重要代表作品，檢視其音樂理念與慣用的創作手法，並從中觀察其創作受俳句詩人松尾芭蕉（Matsuo Bashō, 1644-1694）的影響，藉以探討這位作曲家在西方技法與編制中，所隱含的日本傳統音樂文化思想，並將探究所得體現於自身創作之中。

The thesis focuses on a study of “A Winter Day: Homage to Bashō”, a chamber music work by the Japanese contemporary composer Yuasa Jōji. Through analysis of this piece, I shall reveal the characteristics of Yuasa’s musical language and try to show how the study reflect on my own composition. Yuasa Jōji is a so-called self-taught composer. Before engaging in compositon, he had studied medicine at Keio University, Tokyo. As an active member of Jikken Kōbō since 1952, Yuasa Jōji participated in creations of various musical genres. Yuasa Jōji has been persisting in composing, and his music is widely considered as a progressive, fusional style with Western techniques and Japanese tradition. Through reviewing each periods of works and observing the influences of the Japanese haiku poet Matsuo Bashō, I will discuss how Yuasa combines Japanese traditional music with Western musical techniques. Furthermore, the conclusion of the research will be applied as concepts to my works.