臺灣博碩士論文加值系統

本論文主要探討武滿徹的創作思維，並以晚期作品《夢窗》來分析他在寫作語法上的呈現。論文首先瞭解武滿徹的時代背景以及他潛在的文化意識;再者從《夢窗》的創作背景延伸出武滿徹在創作行為上，所賦予音樂內容的精神意義;而後由作品本身的形式建構來觀察其音樂特徵;最後是《夢窗》段落性的內容分析，驗證其作品語言如何的體現武滿徹的創作思維。
/蔡淑玲畢業音樂會曲目：1、三重奏「蠱―晚禱」2、第一號弦樂四重奏3、六重奏「音霾」4、室內樂「晚禱II」

This thesis discussed Toru Takemitsu's composing thought and taken Dream/Window in his late period as an example to analyze his composing grammar.
This thesis disscussed Toru Takemitsu's background and his potential cultural consciousness, then, extending the composing background of Dream/Window to Toru Takemitsu creative behavior which gave a spirit meaning to music. At last, we observed his music features from the formality and construction of his work. The analysis of contents of Dream/Window section by section verified how to accomplish Toru Takemitsu's creative thought with his language in his works.

目錄i
前言ii
譜例目錄iii
圖表目錄v
第一章作曲家武滿徹簡介與音樂作品風格
第一節 武滿徹成長背景 1
第二節 武滿徹音樂風格 12
第二章 作品《夢窗》之創作背景
第一節《夢窗》創作源由 24
第二節 武滿徹標題音樂的創作 27
第三章 探討《夢窗》創作思維的展現
第一節《夢窗》管弦與配置及位置編排設計之意義 34
第二節《夢窗》管弦樂編制及其象徵性意義 39
第三節《夢窗》音高材料及其應用 43
第四節《夢窗》音色與織體表現 58
第四章 《夢窗》之整體分析 67
第一節 《夢窗》曲式結構 68
第二節 《夢窗》整體分析 74
結語 ………………………………………………………….94
參考資料…………………………………………………….96

中文參考書目
潘皇龍著，現代音樂的焦點，台北：全音樂譜出版社，1983[民 72] 初版
高佳佳著，斯特拉文斯基 序列音樂研究，北京：商務印書館，2003
鍾子林著，西方現代音樂概述，北京：人民音樂出版社，1991[民 80] 初版

翻譯參考書目
Messiaen, Olivier [奧利維亞梅湘著]：我的音樂語言的技巧，連憲升譯，巴黎：Alphonse Leduc Company, 1992

外文參考書目
Buter, Peter. The Music of Toru Takemitsu. Cambridge, 2001.
Cornwell, Lewis. “Toru Takemitsu’s November Steps.” Journal of Music Research 31 (2002): 211-220.
Everett, Yayoi Uno and Lau, Frederick. “Locating East Asia in Western Art Music” Connecticut: Wesleyan University Press, 2004
Knussen, Oliver. “Toru takemitsu.’ Liner Notes for the CD DG 453 495-2 (Takemitsu, Quotation of Dream), 1998: 4-11
Koozin, Timothy V. “Octationicism in Recent Solo Piano Works of Toru Takemitsu.” Perspectives of New Music 29 (1991): 124-40
Lester, Jool. Analytic Approaches to Twentieth-Century Music. New York: W. W. Norton, 1989.
Long, Stephen. “Japanese Composers of the Post-Takemitsu Generation.” Tempo 58 (228): 14-22.
Ohtake, Noriko. “Creative sources for the music of Toru Takemitsu” Cambridge: Scolar Press, 1993
Siddons, James. Toru Takemitsu: A Bio-Bibliography. Greenwood, 2001
Slonimsky, Nicolas. Music Since 1900. 5th ed. New Tork: Schirmer Book, 1994.
Smaldone, Edward. “Japanese and Western Confluences in large-scale Pitch Organization of Toru Takemitsu’ s November Steps and Autumn.” Perspectives of New Music 27 (1989): 216-231.
Straus, Joseph N. Introduction to Post-Tonal Theory, 2nd Edition. Englewood Cliffs, New Jersey: Prentice-Hall, 2000.
Takemitsu, Toru. “Confronting silence: selected writings” California: Fallen Leaf Press, 1995
Takemitsu, Toru. “Contermporary Music in Japan.” Perspectives of new Music 27 (1989): 198-205.
Takemitsu, Toru. “My Perception of Time in Traditional Japanese Music.” Contemporary Music Review 1/2 (1987): 9-13.
Takemitsu, Toru. “A Jostled Silence—Contemporary Japanese Musical Thought. I: Mirrors.” Trans. Sumi Adachi with Roger Reynolds. Perspectives of new Music 30 (1992): 36-80.
Takemitsu, Toru, Tania Cronin, and Hilary Tann. “Afterword.” Perspectives of New Music 27 (1989): 45-47.
Tann, Hilary. “Tradition and Renewal in the Music of Japan—Introduction.” Perspectives of New Music 27 (1989): 206-214.
van den Toorn, Pieter. The Music of igor Stravinsky. New Haven: Yale University Press, 1983.
Yuasa, Joji. “Music as a Reflection of a Composer’s Cosmology.” Perspectives of New Music 27 (1989): 176-97.



參考樂譜
Takemitsu, Toru. Dream/Window. Tokyo: Schott Japan Company Ltd. 1988