キム・ニコル・ジへ
早坂文雄の映画音楽における日本的特性
早坂文雄は現代音楽の作曲家でもあるが、日本の映画音楽史の中で特別な位置を占めている存在である。41歳の若さで生涯を終えるまでの16年間、彼は100本近い映画音楽の作曲を担当していた。当時、黒澤明監督と溝口健二監督とのいう日本映画史の巨匠の数多い作品の音楽を担当する程、実力を認められていた。
彼が作曲家として活動した時期は、日本が国家的な理念の変化を経験した世界大戦前後の時期とほぼ重なる。この時期、日本文化に対する日本人の意識は敗戦により、態度の変化を経たのである。当時の雰囲気の変化にも関わらず、早坂は日本的であることを自分の音楽的な理念として持ち続けた。彼のこの音楽的な思想がどこまで当時の状勢に影響されたかについては意見が分けられるが、ヨーロッパの音楽を模倣することを避け、日本的な要素を活かした彼の音楽の独自性は、当時と次の世代の作品音楽と映画音楽の作曲家に大きく影響を与えた。彼は作曲活動とともに執筆活動も積極的に行っていて、彼の音楽観は数多い音楽雑誌の記事、そしてその記事の一部をまとめた『日本的音楽論』に詳細に書かれている。彼は生涯を通して、作品音楽と映画音楽の両方で自分の『日本的音楽観』を貫いているが、彼の音楽が世界的に知られるようになったきっかけは映画音楽であった。
この論文は、彼の『日本的音楽論』を中心として、日本的なものを積極的に用いた彼の音楽観に関する調査と、彼が自分の理論をどのように実践したのか、彼の映画音楽を通して分析した結果をまとめたものである。
Nicole Jihye Kim
Japanese characteristics in Fumio Hayasaka’s film music
Fumio Hayasaka (1914-1955) was a Japanese contemporary classical composer who also has a special place in the history of Japanese film music. He was a prolific film composer scoring for close to 100 films and documentaries in his 16-year film music career which abruptly ended with his untimely death at the at age of 41. He was the preferred composer for Akira Kurosawa and Kenji Mizoguchi, two of the most prominent and recognized film directors both domestically and internationally. His career as a composer largely coincides with the period when Japan as a nation went through several transitions in the way its people viewed their own tradition and culture in response to Japan’s defeat in the World War II. Regardless of the changes in the public opinion, Hayasaka held on to his belief in creating music with the Japanese traditional culture as the main source of inspiration. Although how much influence the political atmosphere at the time had on his approach to music remains to be debated, his call for a move towards creating conceptually ‘Japanese’ music instead of blindly imitating the European tradition, was a constant theme of his own music, and made a strong impression as the music of other, especially the younger Japanese composers of both contemporary and film music at the time. His thoughts on the subject are well-documented in many of his writings, as he was also a regular contributor to many Japanese music journals and his writings were compiled into a thesis called Nihonteki Ongakuron (Theory of Japanese Musicality). Hayasaka continued to incorporate his ‘Japanese musicality’ in both his concert music and film scores throughout his career, but it was his film music that the Japanese public and the international cinema goers have found appealing and memorable.
This thesis is a comprehensive survey of his thoughts on composing music based on conceptual elements of the Japanese culture, by examining his ‘ Theory of the Japanese Musicality’ (1942) as well as studying some of his film scores to find out how he put his own theory into practice.