著者

著者・編者 後藤暢子 川添圭子 神月朋子

出版者

山田耕筰研究所

巻号頁・発行日

2001

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.59, no.1, pp.155-162, 2010

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This article will clarify the creative idea of Tomojiro Ikenouchi (1906-1991), a composer who was admitted to Conservatoire National Supérieur de Musique as first Japanese student, in order to consider the reception of the French modern music before the World WarⅡin Japan. His idea is examined from the four points of view: Nô, Haiku, education in France and the music of Maurice Ravel.Ikenouchi formed his aesthetic idea through Nô and Haiku which show the essence of the expression by the least medium. In France he learned that the French theory of harmony, differentfrom the German one, requires the unique beauty and rigid rationality, not the right answer. Healso recognized that the composit on must be done on the strong foundation, which had been lacked among the Japanese composers. This foundation or technique, together with the improvisation (inspiration), can create the work of art.With these experience Ikenouchi wrote, as the first Japanese composer, the music on the model of Ravel, a composer of the neo-classicism because he treated the beauty and rationality expressed by the least medium, common to the Japanese traditional arts and the European neo-classicism.It also means the fusion of the East and the West which Ikenouchi seeks to realize during and after his stay in France.The succession of his idea has been seen when many of his pupils developed their original music which is highly estimated in the world. Its further examination must be done.

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.71, no.2, pp.379-400, 2022

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.57, no.2, pp.157-170, 2008

著者

神月 朋子

出版者

東京芸術大学

巻号頁・発行日

2001

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博士論文

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.58, no.2, pp.249-260, 2009

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This article will consider the acceptance of the French modern music by the Japanese music society in the nineteen twenties which was on the way to create the tradition of the art music. The French music had become a matter of their concern from the three points : refuse of the predominance of the German classical music ; flourishing of the French music at that time and its own characteristics ; and charm of the city of Paris, the forefront of the arts.After a brief survey of the acceptance in the fields of(1)composition,(2)concerts and records, (3)music books,( 4)periodicals and books(including Japanese translations),(5)education and(6)symbol of the anti-German music, it will be indicated that the Japanese music society recognized the characteristics of the French modern music not only as light, gorgeous, simple but also as inseparable of sensation from consciousness or conception. These are independent from the German sense of value and not its contrary. Such music is created by the French people, réalist and idéalist, as the Japanese people is.The reflection of Paris in twenties is also an important factor for Japanese musicians : at that time Paris was filled with various music from the various countries, a center of the world music. French music, especially like Debussy or Ravel, is regarded as their mixture and as source of the oriental/Japanese expression. This problem of expression, the creation of our own music, must be examined not from the acceptance of the church mode or the pentatonic scale, but from the point of the world music, or the network of music from the different culture. This may be also an importanttheme of our time.

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.58, no.2, pp.249-260, 2009

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This article will consider the acceptance of the French modern music by the Japanese music society in the nineteen twenties which was on the way to create the tradition of the art music. The French music had become a matter of their concern from the three points : refuse of the predominance of the German classical music ; flourishing of the French music at that time and its own characteristics ; and charm of the city of Paris, the forefront of the arts.After a brief survey of the acceptance in the fields of(1)composition,(2)concerts and records, (3)music books,( 4)periodicals and books(including Japanese translations),(5)education and(6)symbol of the anti-German music, it will be indicated that the Japanese music society recognized the characteristics of the French modern music not only as light, gorgeous, simple but also as inseparable of sensation from consciousness or conception. These are independent from the German sense of value and not its contrary. Such music is created by the French people, réalist and idéalist, as the Japanese people is.The reflection of Paris in twenties is also an important factor for Japanese musicians : at that time Paris was filled with various music from the various countries, a center of the world music. French music, especially like Debussy or Ravel, is regarded as their mixture and as source of the oriental/Japanese expression. This problem of expression, the creation of our own music, must be examined not from the acceptance of the church mode or the pentatonic scale, but from the point of the world music, or the network of music from the different culture. This may be also an importanttheme of our time.

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.57, no.2, pp.157-170, 2008