The Transition of Musical Expression in Yasushi Akutagawa's Film Music --Paying Attention to Emphasis on Theme Music and Conversion of Motifs--

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  • FUJIWARA, Masao
    Graduate School of Human and Environmental Studies, Kyoto University

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  • 芥川也寸志の映画音楽語法の変遷 --テーマ音楽の強調とモティーフの流用に着目して--
  • アクタガワ ヤ スンシ ノ エイガ オンガク ゴホウ ノ ヘンセン : テーマ オンガク ノ キョウチョウ ト モティーフ ノ リュウヨウ ニ チャクモク シテ

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Abstract

This essay develops a basis for exploring the musical strategy of Yasushi Akutagawa's film music. The author divides Akutagawa's career of film music into two periods : one (period I) is from 1951 to 1970, the other (period II) is from 1974 to 1982. In an interview held in 1978, he referred to the change of his ideal in composing film music : in the earlier era, he prioritized the synchronicity between music and picture, while he gradually came to deemphasize the idea and put stress on what he called "theme music." To verify his statement, this essay examines three of his film scores chronologically : A Cat, a Man and Two Women (猫と庄造と二人のをんな, 1956), Hana Noren (花のれん, 1959) and Portrait of Hell (地獄変, 1969). Furthermore, this essay links this analysis to "conversion of motifs, " a characteristic that previous researches such as Kuniharu Akiyama and Hisao Nishikawa have singled out as Akutagawa's signature.

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