武満徹のピアノ・アンサンブル作品にみる音響と楽器配置の関係について

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].