武滿徹之外－日本戰後傑出世代作曲三家論

本文以武滿徹同世代的三位日本戰後「傑出世代」作曲家：湯淺讓二、三善晃和松村禎三之作品和創作美學為探討對象。在湯淺讓二方面，本文從其早年作品《內觸覺的宇宙》和〈音樂作為作曲家宇宙論的反映〉一文出發，嘗試揭露其創作美學及其對於音樂之節奏要素的探討如何受到法國作曲家若立偉的影響。在三善晃部分，本文將以次探討其早年作品《小提琴奏鳴曲》和《交響三章》如何受到近代法國作曲風格，尤其是杜替耶「古典主義」的影響，以及他在1970年代透過《安魂曲》、《詩篇》與《響紋》等「死亡三連作」奠定其成熟風格的過程。在松村禎三方面，本文透過其作品《交響曲》和《第二號鋼琴協奏曲》的扼要分析，追溯他和日本戰前「國民樂派」代表作曲家伊福部昭在美學思維的關聯，並呈現其對於南亞印度文化的強烈情感。藉由這幾位作曲家之音樂思維與作品風格的探討，本文最後指出：戰後日本當代音樂的堅實傳統即建立於這許多具有不同美學關懷與音樂風格之傑出作曲家的創作成果。

關鍵字

湯淺讓二；三善晃；松村禎三；日本；當代亞洲音樂

並列摘要

This article will focus on the musical ideas and works of three important Japanese composers who belong to the same generation as Tôru Takemitsu: Jôji Yuasa, Akira Miyoshi and Teizo Matsumura. We will first discover how Jôji Yuasa was influenced by the piano style of French composer, André Jolivet, by examining his early work, ＂Cosmos Haptic＂, and article, «Music as a reflection of a composer's cosmology», Yuasa's interests in rhythm and time structure which greatly inspired by the cosmos concern and musical ideas of Jolivet. Next, we will go back to the early works of Akira Miyoshi, including ＂Violin Sonata and Three Movements of Orchestra＂, to reveal the ＂French origin＂ of Miyoshi's music, especially his affinity to Henri Dutilleux. Miyoshi's personal style was eventually established in the 1970's with the creations of the ＂Trilogy of Dead＂: ＂Requiem, Psalm＂ and ＂Kyômon＂. Finally, through a brief analysis of Teizo Matsumura's ＂Symphony and Second Piano Concerto＂, we will see his passion for Indian culture and affinity to the aesthetic of Akira Ifukube, the representative Japanese composer of the pre-war national school. From this discussion on the various ideas and styles of these outstanding post-war generation composers in Japan, the reason why the Japanese compositional society could establish its solid tradition of contemporary music becomes clear.