1930年代前半音樂雜誌中「日本式的」的討論──以《音樂評論》為中心──

Abstract

1930年代「日本式的」音樂應該如何呈現，被當時代的人們廣為討論。明治時期因爲國家政策，一度遭受揚棄及改良的日本舊有音樂元素及文化，以「日本式的」的名義再一次的被作曲家作為創作素材使用。然而，1930年代前半「日本式的」的課題是如何透過西洋音樂技法表現出「日本式的」，因此在創作上，時常呈現出「西洋式的」使用佔比遠高於「日本式的」的情況。雖然在以「日本式的」概念創作的樂曲中，「日本式的」可能會被聽成「情調」的使用；在西方評論家的耳裡，可能被聽成「印象樂派」或是「異國情調」的使用。然而，日本作曲家們的理想，並不單純的只是將「日本式的」作為喚起日本情感的工具，而是希望將「西洋式的」和「日本式的」融合。這項工作不是單純的「折衷」概念，而是試圖創造具有日本人身份認同的音樂「藝術」。 本論文旨在探究1930年代前半音樂雜誌中「日本式的」的討論。以音樂雜誌《音樂評論》為主要材料。研究問題是：「日本式的」如何透過西洋音樂技法體現在音樂之中。研究對象主要是作曲家以及《音樂評論》中各式的「日本式的」討論，並針對透過西洋音樂技法表現出「日本式的」的想法為主。 研究結果發現音樂理論上使用了日本音階、全音音階、五度和聲以及印象樂派音樂技法可算是「日本式的」；抽象概念上，透過西洋樂器表達出日本傳統樂器（三味線）、傳統音樂形式（雅樂），或是從日本文學、美學等其他音樂以外的元素獲得靈感後創作的樂曲可算是「日本式的」。

In the early 1930s, the question of how “Japanese-style” (Nihon-teki) music should be represented became a widely discussed topic. During the Meiji period, under national policy, traditional Japanese musical elements and culture were abandoned or reformed. In the 1930s, however, these elements were once again taken up by composers as creative materials under the banner of the “Japanese-style.” However, the issue was how to express “Japanese-style” through Western musical techniques. As a result, Western musical techniques often played a more dominant role than Japanese elements. In works composed under the concept of the “Japanese-style,” such elements might be perceived merely as evocations of “sentiment,” or, to Western critics, as resembling Impressionism or exoticism. Yet the ideal of Japanese composers was not simply to employ “Japanese-style” as a tool to evoke national sentiment. Rather, they sought to integrate Western and Japanese elements. This undertaking was not merely a compromise but an attempt to create a musical art that embodied Japanese cultural identity. This study examines discussions of the “Japanese-style” in music magazines during the first half of the 1930s, with a primary focus on the magazine Ongaku Hyōron. The central research question is how the “Japanese-style” was manifested in music through Western compositional techniques. The subjects of analysis include composers and various discussions of the “Japanese-style” published in Ongaku Hyōron, with particular attention to how Western musical techniques were employed to express “Japanese-style.” The findings indicate that the use of Japanese scales, whole-tone scales, Quintal Harmony, and Impressionist techniques could be regarded as “Japanese-style.” On a more abstract level, works that expressed traditional Japanese instruments (such as the Shamisen) or traditional musical forms (such as gagaku) through Western instruments, or that drew inspiration from Japanese literature, aesthetics, and other non-musical cultural elements, were likewise considered manifestations of the “Japanese-style.”