| Project/Area Number |
15K02120
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Multi-year Fund |
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| Section | 一般 |
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| Research Field |
Aesthetics and studies on art
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| Research Institution | Tokyo College of Music |
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Principal Investigator |
Fujita Shigeru 東京音楽大学, 音楽学部, 准教授 (30466974)
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| Project Period (FY) |
2015-04-01 – 2018-03-31
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| Project Status |
Completed (Fiscal Year 2017)
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| Budget Amount *help |
¥2,730,000 (Direct Cost: ¥2,100,000、Indirect Cost: ¥630,000)
Fiscal Year 2017: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2016: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2015: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
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| Keywords | デュティユー / セリアリスム / スケッチ研究 / 自費譜 / 20世紀音楽 / 音楽理論 / 音楽分析 / 創作課程 / 創作過程 |
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| Outline of Final Research Achievements |
Going back and forth between sketch studies and theoretical examinations of Dutilleux’s five orchestral works, I obtained three major results that have the potential to modify the composer’s former public image as an independent musician: (1) Dutilleux engaged in the Serialist movement more seriously than hitherto believed; (2) Dutilleux’s dialectics of control and freedom in the composition were manifested most apparently in his idiosyncratic use of the twelve-tone row as a matrix from which can be generated various pitch structures; (3) Dutilleux developed progressively his dodecaphonism through the above-mentioned five works. After some trials in Second symphony, he invented his proper method of using the twelve-tone row flexibly in Metaboles and in Tout un monde lointain, and he arrived at a new form of free writing in Timbre, Espace, Mouvement, Mystere de l’instant.
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