- 著者
-
原 塁
- 出版者
- 美学会
- 雑誌
- 美学 (ISSN:05200962)
- 巻号頁・発行日
- vol.68, no.2, pp.109, 2017 (Released:2019-01-02)
This paper clarifies Japanese composer Toru Takemitsu’s usage of the repeat sign and
considers the influence of other works from the same period and his aesthetic change.
In the 1960s, Takemitsu uses the repeat sign in two ways. One of the usages works
as the base of “Tone Cluster” and introduces high level “Indeterminacy”. The other is
inspired by the technique of the Polish composer Witold Lutosławski and introduces
low level “Indeterminacy” under the control of the composer. In the latter case, the
repeat sign enables each player to play independently and creates the asynchronous
sound. This usage is continued in the next decade. In the 1970s, a number of passages
in which different cycles and tempi accumulate simultaneously are repeated. In spite
of his instruction of tempi and notes, the entire sound cannot be predicted exactly, as
each passage is repeated many times, so this repetition also introduces a controlled
“Indeterminacy”. In the 1980s, Takemitsu came close to Steve Reich’s “Phase-Shifting”
technique. Reich’s technique implies strong “Determinacy”, and thus we can see the
change in Takemitsu’s aesthetic here. While in prior works, he placed more value on
“Indeterminacy”, in this period, he treated “Determinacy” and “Indeterminacy” relatively.