Akira Miyoshi's Composition Style : His Stylistic Formation by influential relationship between instrumental and vocal works and its significance

I divided Akira Miyoshi's musical works into 5 periods as follows : I(1950s〜first half of 1960s), II(second half of 1960s), III(1971〜4984), IV(1985〜1994), V(1995〜). I pointed out that in Ist period, Miyoshi, who considers sonata form as a symbol of European mind, composed works entitled sonata as follows : Sonata for clarinet, bassoon and piano(1953), Violin sonata(1954), Sonata for flute, cello and piano(1955). As for his orchestral works, we can recognize a tendency that they are not entitled symphony or evade symphony by involving solo instruments like Piano concerto(1962) and Concerto for orchesta(1964). Miyoshi's style appeared first in chorus work including Torse II(1961) in its creative declamation style which is recognized also in his later works. After IInd period I indicate that vocal and instrumental sounds articulated words, for example, in Shiki-ni(1966), Ousonhuki(1970), in IInd period, in trilogy for chorus and orchestra(Requiem(1972), Shihen(1979), Kyomon(1984))in IVth period in, for example, Anata for three groups of chorus and piano(1989), in Vth in Three images for chorus and orchestra(2002). In Vth, concept and technique, which Miyoshi pursued in works for chorus and piano, instrumental ensemble or orchestra, is projected on relationship between solo instrument and orchestra or orchestration in tetralogy for orchestra (Dispersion ofl'ete(1995), The planet suspending ehoes(1996), Fruits de brume(1997), Final : Cueillage d'onde(1998)).