武滿徹與德布西兩首長笛、中提琴與豎琴三重奏之比較

Abstract

法國作曲家德布西 (Claude Debussy, 1862 - 1918) 是音樂史上第一位採用長笛、中提琴與豎琴之編制創作室內樂的作曲家，屬於德布西晚期音樂風格的這首《長笛、中提琴與豎琴奏鳴曲》 (Sonata for Flute, Viola and Harp, 1915), 不僅是音樂史上的創新之作，亦成為後代作曲家爭相模仿使用的編制典範。在眾多相同編制的音樂作品當中，日本作曲家武滿徹 (Toru Takemitsu, 1930 - 1996) 所寫的同編制三重奏《於是，我知道那是風》 (そして、それが風であることを知った / And Then I Knew 'Twas Wind, 1992), 除了直接引用了德布西作品當中的音樂片段，在曲式、調性、動機、速度等方面，皆具備高度相關性，本論文除了個別分析這兩首樂曲之外，亦將針對兩首樂曲之相關性加以比較。此外，本論文亦將探討德布西與武滿徹他們各自所受到的日本、法國文化之影響，並探討兩位作曲家在音樂哲思上的共通點。

French composer Claude Debussy (1862 - 1918) is the first-ever composer who use flute, viola and harp as an ensemble to write a trio. His innovative “Sonata for Flute, Viola and Harp” (1915), which belongs to his late-period style, influences many composers challenging to write chamber music with the same ensemble. Among those pieces, the trio of Japanese composer Toru Takemitsu (1930 - 1996) “And Then I Knew 'Twas Wind” (そして、それが風であることを知った, 1992), not only cites directly a fragment from Debussy’s sonata, but also highly relates to Debussy’s works in the aspects of music form, modes, motives, speed, etc. In this dissertation, the writer will analyze these two works separately, and then discuss their similitude. Furthermore, the writer will also look over the influence of Japan culture to Debussy and the influence of French culture to Takemitsu, and afterward try to discover the similarity of the music philosophy of the two composers.