著者

柴田 康太郎

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学藝術学研究 (ISSN:13426095)

巻号頁・発行日

vol.32, pp.73-103, 2014-03-20

著者

柴田 康太郎

出版者

日本音楽学会

雑誌

音楽学 (ISSN:00302597)

巻号頁・発行日

vol.64, no.1, pp.1-16, 2018 (Released:2019-10-15)

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1920年代において、日本のサイレント映画は西洋音楽の土着化と舞台から映画へという同時代的な転換との複合的な帰結による改革のなかにあった。当初、1910年代の日本映画は歌舞伎の強い影響下にあった。当時の邦画は舞台劇の一種の安価な代用品とみなされており、ロングショット、長廻し、固定カメラで撮影されていた。音楽演出においても三味線や太鼓などの伝統的邦楽器によって歌舞伎の舞台劇を模倣することが目指されていた。ところが1920年頃になるとこうした舞台志向の映画は、クロースアップやクロスカッティング等の映画に必要な技法を追求せず、古臭い物語に安住することで批判されるようになった。そして新しい邦画を模索する純映画劇運動のなかで、伴奏音楽もまた、洋楽と洋画伴奏のもとで再編成されることになる。しかもこの動きは、歌舞伎などの伝統の根強い時代劇においても浸透し、洋楽合奏や和洋合奏による古典邦楽曲や輸入洋楽曲の演奏、さらには新作伴奏曲をともなって上映されるようになるのである。本論文は、東京における日活の封切館であった浅草富士館や神田日活館の興行実態や伴奏曲をめぐる言説、および伴奏譜の資料考証を交え、複合的にこの再編成のありようを捉え直す試みである。まず浅草富士館の支配人三宅巌の試行錯誤に注目し、歌舞伎的伝統の根強い富士館でどのように洋楽合奏や和洋合奏が導入されたのかを考察する。次いで残る2節では、現存する楽譜資料や同時代の言説の検証により、1926年頃の時代劇伴奏のレパートリー、そして時代劇伴奏の代表的作曲家のひとりであった松平信博の1927年以後の実践を考察し、1920年代後半にどのように楽曲と編成における邦楽と洋楽の折衷ないし再編成が進んだのかを示す。

著者

柴田 康太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.1, pp.109-120, 2017 (Released:2018-07-01)

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Movie theaters in the silent era had a feature as a concert hall. Especially in Japan in the Taisho era, they were central places where ordinary people heard Western music. Though they are important case for Japanese receptive study of Western music, how film audiences received it had scarcely been investigated. This study, focusing on some theaters in Tokyo especially around 1920 and 1927, tries to show their receptions of Western music. First three sections consider on the audiences’ columns in the pamphlets issued by one of the main movie theaters, Teikokukan in Asakusa. They show that audiences were so interested in Western music which was frequently played as intermission music that, when the same music was used for film accompaniment, it sometimes gained audiences’ attention more than the film it was used for. But until 1927, musical medleys had gradually gained popularity as a new form of intermission music. The popularity was based on each tunes’ associative images which had been formed in audience through their repetitive use in film accompaniment. The peculiar associations formed in the movie theaters gave birth to a unique musical practice.

著者

柴田 康太郎

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学芸術学研究 (ISSN:13426095)

巻号頁・発行日

no.32, pp.73-103, 2013

著者

柴田 康太郎

出版者

美学会

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.173-184, 2015

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In Japanese film history, the late 1930s was known as a period when interest in filmic "realism" rose. This study examines how this interest in filmic realism influenced musical accompaniment in narrative films in the late 1930s. It mainly focuses on two complementary aspects of filmic realism: one based on naturalist/ socialist realism in literature and the other based on a new conception of filmic representation that emphasized audiovisual realism. This study investigates the contrasting influences of these two aspects. One influence was the decrease in the use of non-diegetic music, a practice reported in contemporary texts that can be confirmed by existing realist films. The first half of the paper analyzes contemporary discourse on filmic realism and anti-musical accompaniment arguments and reveals that musical accompaniment was considered unsuitable for both the above-mentioned aspects of realism. This influence, however, was not restricted to the decrease in use of non-diegetic music. In fact musical accompaniment was not completely abandoned, and some contemporary Japanese film composers sought an effective way of using it in realist films. The latter half of this paper shows the efforts of Fukai Shiro, one such leading Japanese composer, in this regard.

著者

柴田 康太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.173-184, 2015-06-30 (Released:2017-05-22)

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In Japanese film history, the late 1930s was known as a period when interest in filmic "realism" rose. This study examines how this interest in filmic realism influenced musical accompaniment in narrative films in the late 1930s. It mainly focuses on two complementary aspects of filmic realism: one based on naturalist/ socialist realism in literature and the other based on a new conception of filmic representation that emphasized audiovisual realism. This study investigates the contrasting influences of these two aspects. One influence was the decrease in the use of non-diegetic music, a practice reported in contemporary texts that can be confirmed by existing realist films. The first half of the paper analyzes contemporary discourse on filmic realism and anti-musical accompaniment arguments and reveals that musical accompaniment was considered unsuitable for both the above-mentioned aspects of realism. This influence, however, was not restricted to the decrease in use of non-diegetic music. In fact musical accompaniment was not completely abandoned, and some contemporary Japanese film composers sought an effective way of using it in realist films. The latter half of this paper shows the efforts of Fukai Shiro, one such leading Japanese composer, in this regard.

著者

柴田 康太郎

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.129, 2012-12-31 (Released:2017-05-22)