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Dissertations / Theses on the topic 'Tōru'
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Onishi, Hideaki. "Toru Takemitsu's Japanese gardens : an application of superset/subset networks to the analysis of the three orchestral compositions /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11258.
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Burt, Peter. "The music of Tōru Takemitsu : influences, confluences and status /." Durham : The University, 1998. http://catalogue.bnf.fr/ark:/12148/cb37718378f.
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Koh, Hwee Been. "East and west : the aesthetics and musical time of Toru Takemitsu /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400345891.
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Miyakawa, Wataru. "L'écriture chez Toru Takemitsu : situation, héritage, culture." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10117.
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Cette thèse a pour but d'étudier le langage musical du compositeur japonais Toru Takemitsu (1930-1996), Si le corpus de son œuvre reflète un certain éclectisme (influence de compositeurs occidentaux comme Debussy, Messiaen ou Cage) et l'intérêt aussi bien pour sa propre culture que pour des domaines artistiques variés comme le cinéma, la peinture ou la poésie, ou encore l'assimilation de différents langages musicaux comme la musique sérielle, la musique concrète ou la musique aléatoire, on voit, néanmoins, toujours la même préoccupation du compositeur derrière cet apparent éclectisme : la quête d'un langage universel. Ayant vécu entre deux cultures très différentes, il s'aperçoit que la musique n'est pas un langage aussi universel qu'il le croyait. De ce fait, la question de la communication devient essentielle pour lui, et pour montrer que cette quête d'un véritable langage universel, nous examinons les caractéristiques de son langage musical, en nous appuyant sur des analyses précises et sur l'étude comparative des démarches d'autres compositeurs et d'autres musiques, afin de dégager la spécificité d'une œuvre aussi vaste que plurielle.
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Burt, Peter. "The music of Toru Takemitsu : influences, confluences and status." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/984/.
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Lee, Chung H. (Chung Haing). "Japanese Elements in the Piano Works of Toru Takemitsu." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332793/.
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Toru Takemitsu's piano works reveal a new scope to the concept of sound in modern piano literature. He achieves originality through his imagination and his Japanese cultural and musical heritage. Subtle Japanese elements, which have been embedded for centuries in Japan's culture and music, lend a unique, but not outwardly Japanese, feeling to this work.
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Kono, Shoko. "Toru Takemitsu: Rain Tree Sketch II: Analýza skladby pro klavír." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391657.
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The aim of this master’s thesis is to present the composer Toru Takemitsu, the composer of Japanese classical music and to understand connection between analyzed music, composer’s life and his philosophy. Thesis consists of six parts. Namely introduction, biography, musical works, characteristics of compositions, musical analysis and conclusion. Musical analysis will be performed on his composition called Rain Tree Sketch II – In Memoriam Olivier Messiaen –.
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Fukuchi, Hidetoshi. "The Pitch Content of Selected Piano Works of Toru Takemitsu." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278515/.
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The purpose of this study is to examine the pitch content and compositional techniques of Takemitsu's recent solo piano works, which have not been analyzed by Koozin, and to trace the evolution of his techniques in his solo piano works during his career. It also discusses how Takemitsu projects his philosophy and aesthetics of musical composition through Western musical idioms.
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Chayama, Yuri. "The Influence of Modern Art on Toru Takemitsu's Works for Piano." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/268593.
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This study examines the influence of Modern Art on the piano compositions of Toru Takemitsu (1930-1996) to demonstrate how he was inspired by visual art and integrated its ideas into his music. From his youth, Takemitsu was aware of the relationship between music and visual art, exploring different genres, especially Surrealist poetry and modern painting, as well as Japanese gardens, then harmonizing and incorporating these ideas within his music. In doing so, he established his own philosophy and musical structure, combining colorful sonorities with spatial effects of timelessness, which became cornerstones of his music. This document explores and identifies ideas from Modern Art - primarily visual works of Paul Klee, Odilon Redon, Kagaku Murakami, and other Surrealists - that Takemitsu adapted and wove into his compositions to create visual imagery, rich in color, within his music. The use of these ideas is discussed in an analysis of two of Takemitsu's most profound and mature solo piano works, Les Yeux Clos - In Memory of Shuzo Takiguchi (1979) and Les Yeux Clos II (1989), both inspired by Odilon Redon's series of paintings, entitled Les Yeux Clos (1890).Following Chapter I, the introduction, Chapter II discusses Takemitsu's early influences, film music, legacy, and contribution to society. Chapter III examines Takemitsu's encounter with Surrealism and the four artists– Shuzo Takiguchi, Paul Klee, Odilon Redon, and Kagaku Murakami - that influenced him the most by demonstrating the importance of breaking with convention and freely exploring one's inner world. Chapter IV identifies the principles and ideas of Modern Art and Surrealism that appealed to Takemitsu, and how he adapted them into his compositions. The ideas fall into four categories: philosophy, structure, color, and space. Chapter V presents original analyses of two solo piano works, Les Yeux Clos and Les Yeux Clos II, demonstrating how the principles and ideas of different art forms are integrated into Takemitsu's works. Concluding remarks in Chapter VI include a brief discussion of how an understanding of Takemitsu's complex artistic journey can deepen a performer's understanding and interpretation of Les Yeux Clos and Les Yeux Clos II.
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Settle, David. "A look at form and pitch content in Toru Takemitsu's "Equinox"." Tallahassee, Fla. : Florida State University, 2008. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/341802.
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Iatridis, Konstantin. "Temperaturoptionen für die Elemente BITO und TORU des FEM-Programms COSA." [S.l.] : Universität Stuttgart , Zentrale Universitätseinrichtung (RUS, UB etc.), 1996. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB6783421.
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Vasques, Anita Fermin. "Análise linguística de um livro tikúna. Revivendo toru dü ’ü gu." reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/9767.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, 2011.Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-10-25T16:39:16Z No. of bitstreams: 1 2011_AnitaFerminVaques.pdf: 1251147 bytes, checksum: f9ca646b079c8cce9f16c5ae95ddceb0 (MD5)
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Esta dissertação consiste na análise linguística do livro TORU DÜ(~ no u) ’ Ü (~ no u), o primeiro livro escrito com a participação plena do meu povo Tikúna do Brasil e que representa um marco na história da nossa educação formal. Os textos do livro em língua Tikúna foram revisados e, com base na leitura dos mesmos por um Tikúna, procedemos á uma transcrição fonética e, na sequência, a uma análise fonológica e morfológica dos dados. Este estudo permitiu uma primeira revisão dos textos do livro TORU DÜ(~ no u), tendo em vista também o conteúdo dos mesmos. O estudo seguiu uma metodologia de análise estrutural e funcional do material linguístico e teve como referências os estudos de Rodrigues (1986), Payne (1997) e D’Angelis (2005), mas considerou especialmente os estudos de Lowe (1960) Soares (1986, 2000, 2005) e Rodriguez (2004) sobre a língua Tikúna. Com este estudo pretendo estimular a discussão sobre a escrita de minha língua Tikúna falada no Brasil e eleger o nosso primeiro livro como um importante material de discussão sobre a escrita, letramento e ensino da língua Tikúna no Brasil, nas escolas das aldeias onde é falada. _______________________________________________________________________________ ABSTRACT
This dissertation consists of a linguistic analysis of the book TORU DÜ(~ u), the first written literature made up with the full participation of my people, the Tikúna of Brazil. It represents a landmark in the history of our formal education. The Tikúna texts were revised and, based in its reading by a Tikúna man, we have proceeded to a phonetic analysis, followed by a phonological and morphological analysis of the data. This study had permitted a first revision of the TORU DÜ(~ u) original texts, taking into account their contents. The study had followed a methodological structural and functional analysis of the linguistic material, based on reference studies by Rodrigues (1986), Payne (1997) and D’Angelis (2005), but it also had considered the Tikína language studies by Lowe (1960 ), Soares (1986, 2000, 20005) and Rodriguez (2004). With this study I intend to shed lights on the writing of the Tikúna language spoken in Brazil and to elect our first book as an important material for the discussion on the Tikúna written system, literacy and formal education of the Tikúna language of Brazil in the villages where it is spoken.
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Ahlbäck, Pontus. "En studie i tystnad : Att förhålla sig musikaliskt till Toru Takemitsus filosofi och ideologi." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2820.
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Denna uppsats är en studie i hur en utövare kan förhålla sig till en kompositörs filosofiska och ideologiska ideal i tolkningen av dennes musik. Arbetet sker utifrån kompositören Toru Takemitsu som sedan 1960-talet har skrivit flera artiklar och uppsatser där han tar upp sin syn på allt ifrån natur och komponerande till japansk estetik. Jag går först igenom Takemitsus idéer och sedan applicerar jag dem på två av hans verk för sologitarr – Equinox och All in twilight – för att se hur Takemitsus musik förhåller sig till hans idéer. Då Takemitsus musik ofta är tekniskt svår för gitarr är det ibland svårt att följa den detaljerade notbilden, men jag går igenom ett par olika förslag på hur man kan förhålla sig till både Takemitsus filosofi och japansk estetik. Den tillhörande inspelningen är ett utdrag ur min examenskonsert från den 4 maj 2018 i Nathan Milsteinsalen. Jag spelar här sats två till fyra ur All in twilight och Equinox.
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Du, Plessis Harm. "Lyotard's subline : its manifestation in the musical aesthetic of Toru Takemitsu and Leo Brouwer." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20718.
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The research question stems from a desire to discover what makes the guitar music of Leo Brouwer and Toru Takemitsu so conducive to aesthetic investigation, from the viewpoint of both a listener and performer of their works. The research approach is that of viewing their music through a philosophical lens provided by the notions and attitudes of postmodernism, especially through the aesthetic writings of Jean François Lyotard. Instead of embarking on an analytical investigation in order to prove the aesthetic elements perceived in the music, existing analytical research is consulted and conclusions drawn from this material as it relates to the philosophical ideas of the dissertation .The research question answered is whether there is an aesthetic common ground between Brouwer and Takemitsu that can be linked to the presence of the traditional aesthetic principles of their respective native countries in their guitar compositions. The presence of such aesthetic qualities is indeed perceptible in their music and it is the investigative aim of the dissertation to highlight these qualities as they relate to postmodern notions of time and existence. The aesthetic theory of the sublime as relayed by Lyotard functions as the philosophical premise of the dissertation. The temporal quality that Lyotard observes in the sublime is of particular importance in the selection of this philosopher's work as a theoretical framework. It will be shown that the temporal aspect which Lyotard identifies as an integral part of the sublime aesthetic is what provides the common ground between the musical of the two composers' works. The dissertation proceeds in the first chapter to explain some of the important notions of postmodernism, as they relate to the current topic, concerning the temporal aspect of human experience, in the study of history and from a philosophical view point. This leads to the ideas about temporality as an important aspect of the aesthetic of the sublime as posited by Lyotard in the second part of the first chapter. In this part of the text, reference is made to the composers Brouwer and Takemitsu in order to situate their musical philosophies and aesthetics in the philosophical framework that is provided in this chapter. A bridge between the philosophical framework is provided by devoting the second chapter to an investigation into the ideas by Jonathan D. Kramer about the temporal aspect of music. This provides a link to Lyotard's observation of the temporal aspect of the sublime.
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Jang, Seon Hee. "Interpretation of Extended Techniques in Unaccompanied flute Works by East-Asian Composers: Isang Yun, Toru Takemitsu, and Kazuo Fukushima." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275917772.
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Miller, Lynette. "The sound of dreams : Toru Takemitsu's Far Calls. Coming, Far! and James Joyce's Finnegans Wake." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21242.
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Toru Takemitsu (1930--96) composed several musical works which adopt as their titles quotations from James Joyce' s final and most revolutionary novel, Finnegans Wake. In this thesis I focus on one of these compositions, Far Calls. Coming, Far! (1981) for solo violin and orchestra. I explain the ways in which Takemitsu and Joyce possess similar philosophies and aesthetics, and examine their mutual interest in the phenomena of dreams. The Wake explores one night of a family's unconscious sleep activity and is heavily influenced by Freud's The Interpretation of Dreams. I argue that Takemitsu composes Far Calls. Coming, Far! as a "dreamwork" modelled after Joyce's similar literary endeavour. Accordingly, I categorize the analogous dream structures between Takemitsu's music and Joyce's text. These are: The Dreamer, Language, Time and Water, which I discuss in turn.
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Miller, Lynette Elizabeth. "The sound of dreams, toru Takemitsu's "Far Calls. Coming, Far!" and James Joyce's "Finnegans Wake" (Japan, Ireland)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0023/MQ50547.pdf.
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Inoguchi, Ikuko. "Concepts of time in the works of John Cage, George Crumb, and Toru Takemitsu and implications for performance." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15041/.
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This study explores concepts of time and temporality in the music of three twentiethcentury composers, John Cage (1912-1922), George Crumb (born 1929), and Tōru Takemitsu (1930-1996). This thesis also examines the role that the performer plays in conveying temporal aspects of body of work. These three composers were interested in nonlinear conceptions of time, which they sought to express in musical terms. I have chosen a selection of works by each composer, which epitomize these conceptions, for in-depth study. I also discuss cultural influences upon conceptions of time, and the meanings of nonlinearity in different contexts. All three composers were interested in and influenced by Eastern Asian music and philosophy; I investigate the manifestation of this in their music. The expression of temporal nonlinearity presents equal challenges to both composers and performers. With this in mind, I focus on the relationship of the performer to the specific notational practices of each composer. I investigate how this has been realized by earlier performers through a comparative study of recordings. Where possible, I have consulted primary sources (i.e., sketches and manuscripts) and also articles and programme notes written by the composers in question. Furthermore, I have investigated recorded interviews with composers and expert performers, the latter of which provided valuable insights into composers’ intentions. I also draw upon my experience as a performer. Following the introduction (Chapter 1) in which Jonathan Kramer’s definition of linearity and nonlinearity is introduced, Chapter 2 considers issues related to musical time and temporality, and to the notation and interpretation of twentieth-century music. Three central chapters 3, 4, and 5 apply these in consideration of the works of Cage, Crumb, and Takemitsu, respectively. Chapter 6 focuses more specifically to the performance of these works, drawing upon the result of earlier chapters. Chapter 7 discusses wider implications of this study through examining Edward Cone’s approach to structure and proportion in performance, Stephan Davies’ view of the proper interpretation of a score, and responding to a question regarding performance ideal addressed by Lydia Goehr. This research aims to contribute to the knowledge of the analysts of twentieth-century music, and also provides valuable information which can inform future performances of such music.
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Finnie, Jimmy W. (Jimmy Wayne). "The Keyboard Percussion Trios of Toru Takemitsu and Toshi Ichiyanagi, a Lecture Recital, together with Three Recitals of Selected Works of Cahn, Maslanka, Miki, Miyoshi, Ptaszynska, Schultz, Wesley-Smith, and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278139/.
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The purpose of this study is to examine the various signatures of compositional style as manifested in the keyboard percussion trios Rain Tree by Toru Takemitsu and Wind Trace by Toshi Ichiyanagi. Significant personal interaction between the aforementioned Japanese composers and American composer John Cage justifies an investigation of his influence on their compositional styles. Toru Takemitsu is currently one of the most prolific Japanese composers. In 1981, Takemitsu composed the percussion trio Rain Tree. Three years later (1984) the Japanese concert pianist Toshi Ichiyanagi composed Wind Trace using Rain Tree's identical instrumentation of marimba, vibraphone, and crotales. Rain Tree and Wind Trace are very similar in compositional style. Formally, both works are single-movement compositions employing rhythmic tension, harmonic dissonance, and visual imagery created by the use of polyrhythms, aleatory, nonfunctional harmony, and extra-musical references. This study investigates the Japanese philosophy of ma and its influence in Rain Tree and Wind Trace. Ma is the natural pause or interval between two or more phenomena occurring continuously. According to Takemitsu, ma is living space, more than actual space. Both compositions utilize space as an essential compositional technique to either connect compartmentalized activity or to complement melodic material. With the utmost respect for nature, Toru Takemitsu and Toshi Ichiyanagi have synthesized elements of Oriental and Occidental music into compositional styles that are unique yet universal. Functioning within both composer's strong personal aesthetics, the affective use of aleatoric and polyrhythmic structures reflect John Cage's influence. Takemitsu's decision to reevaluate the qualities of Japanese traditional music, and to consciously attempt to express the qualities of nature within his music, are attributable to his associations with John Cage. Rain Tree and Wind Trace are virtuosic vehicles of musical expression for which an understanding of the subtle elements within the Eastern and Western art forms is essential.
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Okajima, Shuri. "A Comparison Between the Two Works for Flute, Viola, and Harp by Toru Takemitsu and Claude Debussy: Influences of Debussy on Takemitsu and Similarities Between the Two Composers." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/194224.
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This study serves as a comparison between the two works for flute, viola, and harp by Toru Takemitsu and Claude Debussy; influences of Debussy on Takemitsu and similarities between the two composers. It examines how cultural influences from both Japan and France affected each composer, and explores how other artists and composers impacted their writing. Particular focus will be put on Takemitsu's philosophical aesthetics, especially in his later years, and a comparative analysis between the two composers' trios, which include the harp. This study will present a comparative analysis of Takemitsu's trio, And then I knew 'twas Wind for Flute, Viola, and Harp, and Debussy's Sonata for Flute, Viola, and Harp, pointing out similarities and possible influences upon the composers, focusing on elements indicated in the score and writings by and about the composers.
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Yang, Hsiao-Hua [Verfasser], and Dorothea [Akademischer Betreuer] Redepenning. "Die musikalische Rezeption der Zen-Ästhetik im Spannungsfeld zwischen Ost und West - Eine Untersuchung anhand ausgewählter Werke von John Cage, Toru Takemitsu und Hans Zender / Hsiao-Hua Yang ; Betreuer: Dorothea Redepenning." Heidelberg : Universitätsbibliothek Heidelberg, 2012. http://d-nb.info/1177248298/34.
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Harenda, Timothy. "Interactive Networks in Forgotten Lyres: Critical Analysis and Original Composition." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011829/.
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Forgotten Lyres is a musical response to Percy Bysshe Shelley's poem Mutability, which depicts the fragility and unpredictable nature of human life. Four independent chamber ensembles make up the performing forces of Forgotten Lyres; the musicians evoke the topics of Shelley's text as they interact and coordinate with one another according to a variety of paradigms and without the use of a conductor. This essay focuses on the approaches to coordination within and between ensembles, and the ways in which the musicians' interactions can evoke and convey Shelley's texts. The essay also examines works by Mel Powell, Toru Takemitsu, Witold Lutoslawski, and Pierre Boulez as examples and precursors for the coordination strategies employed in Forgotten Lyres.
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Pešl, Jiří. "Spínaný zdroj se spínáním při nulovém napětí." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2016. http://www.nusl.cz/ntk/nusl-242009.
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Diploma thesis describes the design of an switched mode power supply with switching at zero voltage for driving the anode of Anode-layer type ion source. First aim of thesis is ion sources and specialy Anode-layer type of ion source in detail. Main aim of thesis are important aspects of the design of switching mode power supply, which comes later the detailed construction of an switched mode power supply with output voltage 2800 V at output power 2800 W.
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Sakamoto, Haruyo Mastrogiacomo Leonard. "Tōru Takemitsu the roots of his creation /." Diss., 2003. http://etd.lib.fsu.edu/theses/available/etd-08262003-174722/.
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Treatise (D.M.A.) -- Florida State University, 2003.Advisor: Leonard Mastrogiacamo, Florida State University, School of Music. Title and description from treatise home page (viewed 11-18-03). Document formatted into pages; contains 114 pages. Includes biographical sketch. Includes bibliographical references.
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Koh, Hwee Been. "East and West the aesthetics and musical time of Toru Takemitsu /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/40657292.html.
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Sakamoto, Mikiko. "Takemitsu and the influence of "Cage Shock" transforming the Japanese ideology into music /." 2010. http://proquest.umi.com/pqdweb?did=2013876041&sid=7&Fmt=2&clientId=14215&RQT=309&VName=PQD.
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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2010.Title from title screen (site viewed July 8, 2010). PDF text: 65 p. : ill. (some col.), music ; 2 Mb. UMI publication number: AAT 3397977. Includes bibliographical references. Also available in microfilm and microfiche formats.
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Buckland, Jennifer A. "Music of the spheres and beyond : the interstellar orchestra /." 2005.
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Thesis (M.A.)--York University, 2005. Graduate Programme inTypescript. Includes bibliographical references (leaves117-119). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11759
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Pekárek, Jakub. "3-barevnost grafů na toru." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-365083.
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The theory of Dvořák et al. shows that a 4-critical triangle-free graph embedded in the torus has only a bounded number of faces of length greater than 4 and that the size of these faces is also bounded. We study the natural reduction in such embedded graphs-identification of opposite vertices in 4-faces. We give a computer-assisted argument showing that there are exactly four 4-critical triangle-free irreducible toroidal graphs in which this reduction cannot be applied without creating a triangle. Using this result we demonstrate several properties that are necessary for every triangle-free graph embedded in the torus to be 4-critical. Most importantly we demonstrate that every such graph has at most four 5-faces, or a 6-face and two 5-faces, or a 7-face and a 5-face, in addition to at least seven 4-faces.
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Weng, Yu Wen, and 翁郁雯. "Toru Takemitsu: Rain Spell Analysis and Discussion." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/17388181686294411631.
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碩士國立臺南藝術大學
鋼琴伴奏合作藝術研究所
99
Toru Takemistu (1930-1996) was the most representative Japanese composer in the twentieth century, who also held high prestige and had huge influence on the music community internationally. During his life, he completed approximately over three hundred works, including symphonies, chamber music, songs, ballets, dramas, and sound tracks for movies. Influenced by French composers Debussy and Messiaen, and applying traditional elements from the East in his works, Takemistu fascinated me extremely. This thesis focuses on one of his works for chamber music,“Rain spell”for the flute, the clarinet, the vibraphone, the piano and the harp. The varying tonal colors, the feelings of depth and great open space, and the actual techniques for each instrument to perform this piece, pose great challenge to each performaner. By analyzing the score, studying about Takemistu's life, and his compositional styles and techniques, the author wishes to be able to interpret this composition as authentic as possible.
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呂韋庭. "The study of Toru Takemitsu's flute solo "Voice"." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/xcsdd5.
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碩士國立新竹教育大學
人資處音樂教學碩士班
101
Abstract The Japanese contemporary composer Tōru Takemitsu (1930-1996) is one of the most important composers in the 20th century. His music creation integrates western music with Japanese traditional music and takes into account both traditional and contemporary creation ideas. Based on the empirical investigation, this study focuses on the introduction and analysis of the life, family background and creation style of Takemitsu. Moreover, this study investigates the possibility of modern music by studying the flute solo work “Voice”, and probes into Takemitsu’s importance to eastern and western music based on the investigation of his music creations in order to understand his compositional ideas and his influence on eastern and western music. The results are as follows: 1. The work “voice” verified Takemitsu’s compositional techniques and requirement for timbre were successfully applied to his flute works. This work became the representative flute work in the 20th century which tests players’ interpretation of rich sounds. 2. The use of accurate procedures and adequate guidance in teaching can help learners gradually resolve technical barriers and further overcome performance pressure to fully exhibit their interpretation, feedback and practice result of music on a stage. Keywords: Tōru Takemitsu , Voice, Japanese composer, Flute solo,Flute teaching
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Yao, Pei-Wen, and 姚佩妏. "The Analysis of Toru Takemitsu' s Rain Tree Sketch II." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/14811702336077282522.
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碩士國立高雄師範大學
音樂學系
100
Toru Takemitsu is one of the well-known international Japanese composers in the Twentieth century. There is a sizeable collection of works among his forty years of composition. In the thesis, I will mainly emphasize his piano piece, “Rain Tree Sketch II.”. As the last work he wrote for piano solo, he composed the piece in memory of Olivier Messiaen. In this particular piece, Toru Takemitsu extensively used central tone in his work, which went back to tonal language. And the three motives combined with various modes which created his unique music climate. The research is divided into four chapters. The first chapter is the introduction, which the author describes the purpose, research scope and historical document of the topic. The second chapter is the overview of his compositional career. I will portray his life and compositional style. I will analyze the music in two dimensions in the third chapter: First, I will focus on Messiaen’s and Kanzaburo Oe’s influence on Toru Takemitsu; Second, I will discuss the motive, mode and structure of this work. The final chapter is the conclusion.
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Lin, Hsin-Ying, and 林昕穎. "The Study of Conducting Interpretation on Toru Takemitsu's Requiem for Strings." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2423v7.
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HUNG, Chien-Yi, and 洪千懿. "Interpretation and Analysis of I Hear the Water Dreaming by Toru Takemitsu." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/z7ad45.
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碩士東吳大學
音樂學系
103
Toru Takemitsu(1930-1996) is an important contemporary composer in Asia. His techniques of writing were influenced by Debussy(1862-1918), Messiaen(1908-1992), Webern(1883-1945) and Cage(1912-1992). He combined traditional Japanese aesthetics to create a unique musical style of his own. This paper is to research his work "I heard the water dreaming", aiming to resolve intrinsic relationships of structures between meaning ful musical units, as well as through the composer's life, to review his creative processes and traditional cultural backgrounds, in order to explore aesthetic experience (inductive) or integrity (the wholeness) of the subject. My approach is aiming to be equivalent of "conception" in Chinese poetic theory.
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Lee, Chia-Ying, and 李佳盈. "An Analysis in Toru Takemitsu’s Chamber music Entre-temps and Self-composition." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/2rkr3t.
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博士國立臺灣師範大學
音樂學系
105
Toru Takemitsu (1930-1996), a self-taught contemporary Japanese composer, was influenced by French music and 20th western music such as Claude Debussy (1862-1918) and Olivier Messiaen (1908-1992). Until the 1960s, he was enlightened by the aesthetic view of music from an American composer, John Cage (1912-1992), thus gaining back the traditional Japanese aesthetics, and furthermore linking the thoughts from West and East, creating his unique musical vocabularies. In this thesis, the researcher selects a piece from Toru Takemitsu: Entre-temps: For oboe and string quartet (1986) as the topic, and analyzes the background of the creation, forms of the pieces, structure of pitches, techniques of the composition, aesthetic view of music and explores his musical vocabularies and conventional skills with his significant works in different eras, to practice in the future composition from the researcher.
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"Reframing the "sea": a critical study of Toru Takemitsu's Toward the sea." 2005. http://library.cuhk.edu.hk/record=b5896392.
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Leung Tai-wai David.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 107-110).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgments --- p.iv
Table of Contents --- p.vi
List of Tables --- p.vii
List of Music Examples --- p.viii
Chapter Chapter 1: --- Introduction --- p.1
Chapter Chapter 2: --- Methodology and Analytical Issues --- p.11
Chapter Chapter 3: --- The Sea Motive --- p.26
Chapter Chapter 4: --- The Sea of Tonality --- p.73
Chapter Chapter 5: --- "Conclusion: Reframing the ""Sea""" --- p.100
Selected Bibliography --- p.107
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YANG, HSIU-YING, and 楊秀瑩. "Toru Takemitsu's Musical Aesthetics on the Related Issues with Nature, Garden and Silence." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/u2utx5.
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博士國立臺北藝術大學
音樂學系碩(博)士班
106
Tóru Takemitsu (1930-1996) is a well-known Japanese composer. In his age of 11, he was sent to military service and was able to listen to western classical music，especially the musical works by French composer Claude Debussy. In 1951, Takemitsu joined Experimental Workshop group and became friends with great Artists, Musicians and film directors. Under the influence of John Cage, Takemitsu spent more time to learn his own Japanese culture and traditional Japanese music. Later in 1967, He composed November steps, which successfully combined both western and eastern instruments, by using Japanese Shakuhachi and Biwa, played as concerto with orchestra. In Water Ways (1978), each instrument has the imagination as the branches of the river finally flowed into a center note, as rivers flow back to sea. He applied the Japanese musical aesthetic of silence, rest in many of his musical works, such as Wind Horse (1961) and the film music of Harakiri (1963) and Kwaidan(1965). He also inspired by the Japanese garden in Kyoto and emphasized ‘time’ and ‘space’ are both exist in garden and also in the musical works. This dissertation will discuss Takemitsu’s Musical Aesthetics on the related issues with nature, garden and silence. Takemitsu thought the world was like an universal egg which could be easily break, but it also be able to give us full of energy and lives.
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Yang, Su-Ting, and 楊舒婷. "Toru Takemitsu’s Idea of Nature and Its Musical Form of Transience in Arc, Part I." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/64332192015462171115.
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碩士國立交通大學
音樂研究所
96
The most essential problem in modern music is that there exists a gap between listener and music. Modern musicians tend to compose by rational method instead of sensory approach. Takemitsu Toru, who is the world-famous Japanese composer in 20th century, also concerned about the gap between listener and music. He thought that rational method adopted in musical composition would take music away from Nature. Nature in music doesn’t mean to imitate or to find any metaphysical meaning in religion. Nature in Takemitsu’s approach is based on Transience and then bringing the sensory back to music. Music is not the man-made product. Because of Transience, not only the sensory changes constantly with time and space, but also the poetic images could be touched off. By way of sensing the emergence of language and music, the subject would never be opposite to the object—this is the process of composition in Takemitsu’s thinking. Concepts in Takemitsu’s musical philosophy, such as “single sound”, “ma” and “sawari”, are different from the concepts of linear time and fixed space in traditional western philosopy. Takemitsu argues that time and space in music can’t be measured. This kind of approach leads his music focusing on timber. ARC is the piece of Takemitsu’s work in 1966. The nucleus of this music is to imagine people strolling in the garden. My paper would explore the meaning of musical nature in Tkemitsu’s philosophy and show how his music is related to his philosophical thinking.
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Ji, Mu-rong, and 紀睦容. "A Study of the Meaning and Word Constituent of Compound Verbs “tori-” and “-toru” in Japanese." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/24540087376104647948.
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碩士東吳大學
日本語文學系
99
There are parts of the Japanese verb like "toru" as verbs can also become the compound verb V1 and V2. In this paper, often used in compound verb "toru" as the object of study. The purpose of compound verbs in the "tori-" and "-toru" whether to retain the verb "toru" original meaning, and understand the "tori-" and "-toru" easy to combine with which verbs. Because the verb "toru" is polysemous words, becomes the compound verbs in the "tori-" and "-toru" can retain the verb “toru” which meanings with it , for the paper research focus. This paper includes six chapters. Chapter one indicates motivation, purpose, the collection methods of the object, and method. Chapter two describes various scholars proposed the antecedent research of the compound verbs, and proposes the antecedent research question. Chapter three studies the meaning and usage of the verb "toru", and classifies the verb "toru" many kinds of meanings. Chapter four V1“tori-” was divided into retain the verb "toru" original meaning "tori-" and the prefixed “tori-” , and analyzes these two types of V1 “tori-" the meaning and word constituent. Chapter five V2 “- toru” according to this verb “toru” the meaning divides into “acquisition” “separation and remuval” “ information received” three meanings, and studies what kinds of verbs are easy to combine with V2 “- toru”. Chapter six is conclusion which summarizes chapter four and chapter five, and then explores relationship between the meaning and usage of the verb "toru" and V1 "tori-", V2 "-toru", and proposes a direction for future research.
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Robinson, Elizabeth A. "Voice, Itinerant, and Air : a performance and analytical guide to the solo flute works of Toru Takemitsu." 2011. http://liblink.bsu.edu/uhtbin/catkey/1639725.
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This study presents the three solo flute works of Toru Takemitsu and their common traits, in order to create a comprehensive understanding of the works individually, and as a subgroup of Takemitsu’s works. Each piece makes use of the Japanese concept of ma, or space, as a structural device, hollow-tone trills and multiphonics, and the layering of several nonmusical programmatic inspirations are featured in each work. Voice was inspired by the poetry of Shuzo Takiguchi and combines theatrical elements in the style of Japanese Noh theater. Itinerant: In Memory of Isamu Noguchi was Takemitsu’s dedication to his friend, the artist Isamu Noguchi. The two shared an interest in international identities, which Takemitsu sought to create using wind and shakuhachi flute as programmatic references. Finally, Air was written as a sketch for a flute concerto. It contains each of Takemitsu’s compositional traits in a more traditional Western framework. Takemitsu’s flute works imitate the shakuhachi and Noh flutes as Takemitsu’s attempt to bridge Japanese and Western musical elements. Each of these compositional elements appears throughout Takemitsu’s catalog, which this study discusses briefly, and are especially prevalent in his works for solo flute.School of Music
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NI, JUNG-HUI, and 倪榕徽. "JUNG-HUI NI FLUTE RECITAL WITH A SUPPORTING PAPER An Interpretation and Analysis of Toru Takemitsu’s Voice for Flute Solo." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/94827676014401371821.
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碩士國立交通大學
音樂研究所
100
The piece “Voice” is one of the most famous flute solo classic of 20th century, written by Japanese composer Toru Takemitsu in 1971 and dedicated to the french flutist Aurèle Nicolet. Conbining Japanese tradition music elements to response the innovative spirit of Western contemporary music, Takemitsu experimented diverse special techniques and used space notation for his individual musical expression, This article focuses on the compositional concepts of Takemitsu and the relations between his musical thoughts and the implement of Western or Eastern art cultures, therefore understanding the interpretation of this piece.
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Tsai, Shu-ling, and 蔡淑玲. "Discuss the thought and expression of Toru Takemitsu's music composition-taken Dream/Window as an example/Tsai shu-ling composition recital." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/82807511316089445216.
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碩士東吳大學
音樂學系
94
This thesis discussed Toru Takemitsu's composing thought and taken Dream/Window in his late period as an example to analyze his composing grammar. This thesis disscussed Toru Takemitsu's background and his potential cultural consciousness, then, extending the composing background of Dream/Window to Toru Takemitsu creative behavior which gave a spirit meaning to music. At last, we observed his music features from the formality and construction of his work. The analysis of contents of Dream/Window section by section verified how to accomplish Toru Takemitsu's creative thought with his language in his works.
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Tzu-Ching, Yen, and 嚴子晴. "Phyllis Yen Violin Recital with a Supporting Paper On the Compositional Characteristics and Interpretation of Toru Takemitsu's Distance de Fée: A Musical Comparative Linguistics with Olivier Messiaen's Theme and Variations." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/88bkaq.
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碩士國立交通大學
音樂研究所
101
This supporting paper presents an analysis on the compositional technique and characteristics of Toru Takemitsu's "Distance de Fée" in comparison with Messiaen's "Theme and Variations" in order to observe the inherited similarities and differences between the two composers, and suggestions for interpretation and performance are given whenever the author thinks appropriate. The author briefly introduces the life, the compositional periods, and the musical styles of Messiaen and Takemitsu respectively, and conducts analysis based on "temporal" and "color" concepts. Analysis based on temporal (rhythmic) concept particularly emphasizes on both the rhythmic structure and the sense of ‘time’, as well as the use of polyrhythms. Both incorporate multi-modes and polyrhythms into their work. Analysis on color (harmony) is focused on how Messiaen's "synaesthesia" (Synästhesie) renders his composition a rich spectrum of colors, and how Takemitsu inherited this sense of coloration. Messiaen's use of "les modes à transpositions limitées" is reminiscent of Takemitsu's techniques in the use of tone-row (e.g. motivic tone-row and diatonic scales); Messiaen's "groupe-pédale" may correspond to Takemitsu's common use of homophonic tone-row across multiple sections. In terms of the harmonic structure, both of them made extensive use of broken chords of triads and tetrad chords, while the voice leading between harmonies exhibits parallel chord movements or chromatic progressions. By addressing both the characteristic rhythmic and harmonic structure, the author manages to trace the influence, inheritance and re-creation of Japanese composer Toru Takemitsu for whom Messiaen's music is count as one of the most influential.