武満徹における反復記号の使用法

同時代の作品からの影響とその美学の変化

抄録

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.