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ID 18295
file
title alternative
An Examination Of the Relationship Between Sound and Instrument Placement in the Piano Ensemble Works of Toru Takemitsu
creator
Hamamoto, Yoshiyasu
subject
楽器配置
音響
ピアノ・アンサンブル
Instrument Placement
Resonance of sound
Piano ensemble
NDC
Music
abstract
The author had until now thought that Takemitsu's strong interest in the [resonance of sound] was a strong interest in the sound material. If we assume that structuring [the space and time where the sound resonates] had a deep implication for Takemitsu, it is of the utmost importance to consider first the place where the ensemble is going to play and the particular placement of the instruments. The idea that "all is included in the flash of an instant" is without exception true of Takemitsu's works. But the basis of this can be thought of being defined as [the space that is the origin of sound]. The material with which Takemitsu wants to express himself with is sound material which necessitates a specific or more than specific [resonance of sound]. Regardless of the particular environment, we can infer that this does not imply sound that is born from chaos. What cannot be ignored when speaking about [the resonance of sound], is that the passage of [time] as continuity or silence accompanies sound. Concerning this point, each composer's conception of time varies. By applying a fixed regulation and unification, and even prediction, and even, the construction of the [resonance of sound], it is certain that a kind of security, that is to say musicality, is obtained. And it is clear that with each age, a kind of disadvantageous situation comes about. This paper will examine the relationship between [the resonance of sound] and [the placement of instruments] within a fixed space, based on the representative graphs of instrumental placement of Takemitsu's piano ensemble works. At the same time, this paper also studies the [resonance of sound] the composer was searching for. In the formation of several ensembles, Takemitsu gives very strict instructions about [instrumental placement]. Naturally this detail, which is also present in the case of the piano ensembles, extends to the problem of the reverberation time and the space of a performance hall. Also, when speaking about the [resonance of a sound], we cannot ignore that this sound is strictly connected with [coloring] brought by the sound material. These two aspects are interconnected. In this paper, keeping this problem in mind, we examine the structure of the refined [Takemitsu sound].
journal title
Bulletin of the Graduate School of Education, Hiroshima University. Part. II, Arts and science education
issue
Issue 53
start page
421
end page
426
date of issued
2005-03-28
publisher
広島大学大学院教育学研究科
国立情報学研究所
issn
1346-5546
ncid
SelfDOI
language
jpn
nii type
Departmental Bulletin Paper
HU type
Departmental Bulletin Papers
DCMI type
text
format
application/pdf
text version
publisher
department
Graduate School of Education
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