「再政治化」日本戰後音樂史：以黛敏郎的後期創作活動為例

本文以日本戰後作曲家黛敏郎（1929-1997）為中心，意圖在「再政治化」日本戰後音樂史的視角下，重新理解其為人忽略的後期創作活動。本文指出，黛在1960年代以後的生涯後期於日本戰後音樂史的淡出，其實源自於日本戰後樂界長期「去政治化」的結果。藉由對於1960年代黛本人的言說與當時日本樂界關鍵人物如武滿徹及秋山邦晴的對照，筆者闡明了黛在1960年代時在創作方法上與樂界主流的傾軋，來自於他在音樂創作中對於「克服現代」問題始終保持的政治意識，其對抗著樂界在日本美學於西洋的流行中自我再現地「進入現代」—以凱吉（John Cage）「偶然性」美學的逆輸入為代表—而消彌了「克服現代」意識的去政治化。而1970年代好友右翼作家三島由紀夫切腹自殺後，黛展開了直接的右翼政治參與同時大幅減少了創作活動，讓黛在樂界遭受大量的批判甚至成為避而遠之的對象。然而，筆者認為如此的政治不正確恰反過來提供了詮釋其晚期音樂的新可能。以黛1976年改編三島小說原作的歌劇《金閣寺》為例，筆者認為黛晚期音樂中刻意「去日本」的作法，事實上對抗著此時樂界在「日本文化論」的氾濫下，已經完全去政治化而不具真正身分意識的「日本性」，讓黛的晚期音樂甚至能超越其實際政治活動的困境，並寄託其皈依於三島的政治理想中對日本戰後社會的控訴，成為其最有力的政治宣言。

關鍵字

黛敏郎；日本戰後音樂；去政治化

並列摘要

By re-politicizing Japanese postwar music history, this thesis examines the less-researched late works of the Japanese postwar composer Toshirō Mayuzumi（1929-1996）. The author argues that the wane of Mayuzumi’s presence in Japanese postwar music history after 1960 results from the continual de-politicization in Japanese postwar music circle. Through comparing Mayuzumi’s discourse in the 1960s with the other pivotal figures such as Tōru Takemitsu and Kuniharu Akiyama, this thesis demonstrates that Mayuzumi’s discordance against the compositional practices during the 1960s came from his persistent political awareness to the issue of “Overcoming Modernity.”Mayuzumi contrasts the general de-politicized attitude that “assimilates” Japan into the western modernity and self-represents Japan in the western “Japonism” during the time, particularly in John Cage’s Japan-inspired “spontaneity” aesthetic from the U.S. In 1970s after the suicide of his close friend, the nationalist writer Yukio Mishima, Mayuzumi became active in right-wing nationalist politics and considerably reduced his compositional outputs, making him a highly criticized and even avoided figure in the music scene. Nevertheless, it is exactly this political incorrectness that provides new possible interpretations to his late works. Through analyses on his 1976 opera Kinkakuji based on Mishima’s classic novel, this thesis shows how, in a deliberate “non-Japanese” manner, Mayuzumi countered against the completely de-politicized “Japaneseness” in the flooding discourses on Japanese cultural uniqueness during the time, making his late music his most powerful political manifesto that in turn pays homage to Mishima’s criticism against the loss of national identity in the postwar Japanese society.