著者

石田 圭子

出版者

美学会 ; 1950-

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.49-60, 2020

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

吉村 典子

出版者

美学会 ; 1950-

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.145-156, 2020

著者

青田 麻未

出版者

美学会 ; 1950-

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.72, no.1, pp.25-36, 2021

著者

福田 淑子

出版者

美学会 ; 1950-

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.71, no.1, pp.97-108, 2020

著者

奥村 京子

出版者

美学会

雑誌

美学 = Aesthetics (ISSN:05200962)

巻号頁・発行日

vol.64, no.1, pp.83-94, 2013

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During the period 1988-1993, Gyorgy Ligeti (1923-2006) composed the Nonsense Madrigals, which included six tunes for six male voices. For the text of the final tune, "A Long, Sad Tale," Ligeti borrowed from Lewis Carroll's Alice in Wonderland (1865) and his word game doublets. This paper discusses the musical structure of "A Long, Sad Tale." In the tune, Ligeti combined pulsative word-patterns of four doublets, the howling voice of the Queen of Hearts, a conversational sentence between Alice and the mouse, and a trial tale of a violent dog against the whining mouse. He highlighted the personalities of the characters, and set the text in multiple voices to create an emotional polyphony. Moreover, he created not only an elastic metrical structure in a manner through which all kinds of time signatures frequently change but also a jigsaw puzzle-like structure that was based on multiples of sixteen.