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Toru Takemitsu : a response to his compositional world through theory and practice
Author
Lim, Mona Lay Im
Supervisor
Howard, John
Abstract
This M.A. dissertation is a continuation of my research on the late composer Toru Takemitsu (1930-1996). This piece of study is focused more on his compositional techniques and the styles characteristic of the composer, especially his concept of "ma" which embodies the idea of spatial awareness in Nature. This concept heavily influenced him at the point of his life when he consciously turned back to his traditional roots as Japanese and began to use traditional Japanese instruments, namely the shakuachi and the biwa in his compositions. Two of Takemitsu's works have been selected here for a more detailed study; the first is piano Distance(1961), a relatively early piano work, and the second work is November Steps(1967), a work for solo shakuhachi, biwa and chamber orchestra.
Part one of the dissertation looks into the background and influences of the composer with some historical background and influences of the composer with some historical background of Japanese music and Western musical development in Japan. This was the basis of Takemitsu's musical background from an early age. Part Two focuses on the detailed analysis of the above mentioned two works. Both the pieces were selected as they are contrasting works; one being a solo work and the other an ensemble. Also, they were written at different periods of his life; Piano Distance was written before his turning point and November Steps was written after he discovered his roots.
Part Three of this dissertation is my contribution towards the fusion of Western and Asian music. Building upon the foundation laid by Takemitsu, the writer composed three pieces which tries to demonstrate a possible blending of Asian and Western musical norms. The first piece, TORU( In Memoriam Takemitsu)(1996) was written after more research and i composed the piece as a tribute, also as a dedication to Takemitsu's memory. The last piece Duality II (1997) is the second of two works by me on the title "Duality", the first being a solo piano piece written in 1990. Duality II is a Concertino for di-zi (transverse Chinese flute), piano and chamber ensemble. It is a combined idea of both Takemitsu's Piano Distance and November steps, firstly with the use of the instruments- the piano is of Western origin and the Chinese flute is an Oriental instrument. Secondly, the since it is a concertino, the piano would be like a solo instrument (in Piano Distance) and the di-zi replaces the two traditional Japanese instruments of November Steps.
In conclusion, through the study of Toru Takemitsu's works i have been able to understand the polarity of the two cultures, the Eastern traditions with the Western musical background of which Takemitsu had been influenced, which had also been the background and influences of my own.
Part one of the dissertation looks into the background and influences of the composer with some historical background and influences of the composer with some historical background of Japanese music and Western musical development in Japan. This was the basis of Takemitsu's musical background from an early age. Part Two focuses on the detailed analysis of the above mentioned two works. Both the pieces were selected as they are contrasting works; one being a solo work and the other an ensemble. Also, they were written at different periods of his life; Piano Distance was written before his turning point and November Steps was written after he discovered his roots.
Part Three of this dissertation is my contribution towards the fusion of Western and Asian music. Building upon the foundation laid by Takemitsu, the writer composed three pieces which tries to demonstrate a possible blending of Asian and Western musical norms. The first piece, TORU( In Memoriam Takemitsu)(1996) was written after more research and i composed the piece as a tribute, also as a dedication to Takemitsu's memory. The last piece Duality II (1997) is the second of two works by me on the title "Duality", the first being a solo piano piece written in 1990. Duality II is a Concertino for di-zi (transverse Chinese flute), piano and chamber ensemble. It is a combined idea of both Takemitsu's Piano Distance and November steps, firstly with the use of the instruments- the piano is of Western origin and the Chinese flute is an Oriental instrument. Secondly, the since it is a concertino, the piano would be like a solo instrument (in Piano Distance) and the di-zi replaces the two traditional Japanese instruments of November Steps.
In conclusion, through the study of Toru Takemitsu's works i have been able to understand the polarity of the two cultures, the Eastern traditions with the Western musical background of which Takemitsu had been influenced, which had also been the background and influences of my own.
Date Issued
1997
Call Number
ML410.T134 Lim
Date Submitted
1997