布雷茲《結構》〈一〉之分析研究與自我音樂創作之運用

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(1)ഏ‫م‬ፕ᨜ஃᒤՕᖂ ଃᑗᖂߓጚՓఄ‫ิڴ܂‬ᖂ‫ۯ‬ᓵ֮. ؒሼ౿π࿨ዌρ τԫυհ։࣫ઔߒ ፖ۞‫ݺ‬ଃᑗ໌‫܂‬հሎ‫ش‬. An Analysis in Boulez’s Structures “I” and Self-composition. ਐᖄඒ඄Κᘕᐜᅜ ઔߒ‫س‬Κ೏஡ଶ ᐷ. 2012 ‫ ڣ‬6 ִ.

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(3) ᝔᢯ ‫ء‬ᓵ֮൓‫א‬ႉ‫ګݙܓ‬Δଈ٣૞ॺൄტ᝔‫ݺ‬ऱਐᖄඒ඄ѧѧᘕᐜᅜඒ඄Ζรԫ‫ڻ‬ᐊᓵ ֮Δൕᙇࡳᠲ‫ګݙ۟ؾ‬ᓵ֮Δ‫ڔ‬լႛ༼ࠎ๺‫ڍ‬ᗑࠩऱߠᇞፖઔߒֱऄΔࠀา֨‫چ‬ፖ‫ݺ‬ಘ ᓵ᎞ဲ‫ڗش‬Ε֗੄ᆵၴऱຑ຃ࢤΙᅝઔߒ‫ܧ‬෼ᓄထणኪழΔ‫ٍڔ‬ᄎ࿯ղ๺‫ڍ‬৬ᤜࢨ೶‫ە‬ ஼‫ؾ‬Ζٍࠡਢ‫ݺ‬ऱ‫ڴ܂‬ඔ፞‫۔‬ஃΔ۞ഏԲ۟ጚԲΔբԼԫ‫ڣ‬ΙྥۖΔ‫ֱڶ᜔ڔ‬ऄࠌ‫ݺ‬਍ ᥛ໌‫܂‬Δࠀ‫ݺח‬ኙଃᑗ‫ޓڶ‬෡Եऱ৸‫ە‬ΖٍᅮআঠᚐΔࠌ‫ݺ‬൓‫࣍א‬Բ‫ڣ‬փ‫ڕ‬ཚฅᄐΖ‫ڔ‬ ‫࣍ޓ‬ৱԳ๠ࠃֱ૿ਐᖄ๺‫ڍ‬Δ‫ױ‬ᎅਢ‫ݺ‬ऱรԲ‫ئۯ‬ᘣΖ ‫ڼ‬؆ΔՈ૞ტ᝔ေᐉࡡ୉ຫᡯᅜ‫۔‬ஃፖຫ༡ྜ‫۔‬ஃΔ࣍‫ڦۍ‬հխᇡᦰ‫ݺ‬ऱᓵ֮Δࠀ ᐸևছࠐေ։‫ݺ‬ऱฅᄐଃᑗᄎፖᓵ֮ՑᇢΔ࿯ղ‫ݺ‬๺‫ڍ‬ᣪ၆ऱრߠΚ࣍ՑᇢழΔຫᡯᅜ ‫۔‬ஃ‫׌‬૞ኙߓ٨ଃᑗ༼‫נ‬ભᖂֱ૿ऱ઎ऄΔ༼ᙌ‫ࠄڶݺ‬ய࣠ࠀॺߓ٨ଃᑗթ౨ሒ‫ګ‬Ιຫ ༡ྜ‫۔‬ஃঞಾኙଃᑗᄎֱ૿ၞ۩ᝑေΔࠀቔᚐ‫ݺ‬ψཚৱֲ৵٦ᦫࠩ‫ݺ‬ऱᄅ‫܂‬ωΔٍ༼ࠎ ‫ޓݺ‬෡Եऱ೶‫ە‬஼‫ؾ‬ΖԲ‫۔ۯ‬ஃઃࠌ‫ݺ‬ऱᓵ֮‫ޓ‬ᘊ‫ݙ‬࿳Ζ ٦ृΔტ᝔ᑰ઄ᚊ‫۔‬ஃΕᑰ‫׈‬ୣ‫۔‬ஃ࣍‫ݺ‬ጚՓ‫ޣ‬ᖂၸ੄Δඒ඄ψ಻ᕴऄωፖψଃᑗ ऱ࿨ዌωᓰ࿓Δࠌ‫ݺ‬ᛧ墿ߜ‫ڍ‬ΙՈტ᝔᎓ဍ֮‫۔‬ஃΕᑰ୮ྱ‫۔‬ஃΔ࣍‫ݺ‬ጚՓழΔᨃ‫ݺ‬ல ᦫψᑗ‫ڴ‬։࣫ωፖψ෼‫ז‬ᑗᕴዝ৉‫؏ݾ‬ፖ໌‫܂‬ωᓰ࿓Δٍࠌ‫ݺ‬ᛧ墿ସ෍Μ ᝫ૞ტ᝔৛֖ՕፂΔ‫ה‬ᎁటऱ‫ޣ‬ᖂኪ৫Δٍਢআࠌ‫࣍ݺ‬Բ‫ڣ‬փฅᄐऱ೯ԺհԫΔࠀ ᆖൄଈዝ‫ݺ‬ऱ‫܂‬঴Δࡉ‫ݺ‬ಘᓵଃᑗΖ‫ה‬ৰᙟࡉΔൄൄ‫ݺ୲ץ‬ऱൣፃ֏ΔࠀՈࠌ‫ڇݺ‬ፖԳ ઌ๠ֱ૿‫ګ‬९๺‫ڍ‬Ζ‫֗א‬ტ᝔ຩ۴‫ݺ‬ຍࠄֲ՗ऱஃ९Ε֖ࣛΔլᓵਢ៱ᑵࢨਢᄅᢝΕൄ ߠ૿ࢨլൄߠ૿Δ᝔᝔‫ה‬ଚᨃ‫ݺ‬ऱ‫س‬੒‫ڍףޓ‬൑‫ڍ‬ৎΔ൓‫א‬ᐊ‫ړޓנ‬ऱଃᑗΖ ່৵Δ૞ტ᝔‫ݺ‬ऱ‫ئ‬ᘣፖࡪࡪΖ‫࣍ݺ‬ጚՓழၲࡨ؆മΔ‫ڔ‬ଚ᜔ਢլ‫ݱ‬Ᏹ༃ംᄊΔࠀ ୲‫ݺݴ‬ऱᑊᤥΔٍ༼ࠎ壄壀Ղ๕Օऱ֭਍Ζ. i.

(4) ࿝ृթงᖂ෍Δឈ‫ܘ‬ԺઔߒΔ൫எ‫ڶ‬լߩհ๠Δ֠ࠡ‫៿֘ڻڍڇ‬ᔹᦰ‫ڼ‬ᓵ֮৵Δս ࿇෼๺‫ڍ‬งዥΔࠀጐԺലࠡԫԫ‫ݙ۟ޏ‬ໂΔཚ‫ۯٺ‬٣ၞ౨լ‫ܝ‬ਐඒΔലլ໏ტᖿΜ. ஡ଶ 2012. 6. 24 ࣍‫ק؀‬. ii.

(5) ኴ૞ ࠹჋ഏᄅፂՈ౏ᑗ੔ԼԲଃ٨ऱᐙ᥼Δමྉ࣍ 1949-1950 ‫܂໌ڣ‬ऱᙓྶ‫܂‬঴π؄ଈ ᆏ৉ᒭ฾‫ڴ‬ρխऱรԲଈτழଖፖԺ৫ऱᑓ‫ڤ‬υΔၲඔԱߓ٨ଃᑗհ٣ࣾΖۖؒሼ౿੡ ᅝվս੒ᥬ࣍ऄഏऱ‫ڴ܂‬୮Εਐཀ୮Δ‫ڴ܂‬ஃࢭමྉΖؒሼ౿π࿨ዌρτԫυ࠹ࠩᇠ‫ڴ‬ ऱᐙ᥼Δ‫א‬٤ߓ٨‫׌‬ᆠ֫ऄᐊ‫ګ‬ѧѧլႛଃ೏Δ༉ຑᆏ৉ΕԺ৫Εሎଃऄຟ‫ࠡڶ‬ԫࡳऱ ಻ኙΖ ‫ء‬ᓵ֮‫׌‬૞ຘመઔߒؒሼ౿π࿨ዌρ τԫυ Δ൶ಘߓ٨ଃᑗऱ‫ڍ‬ց૿ᎎΔࠀലߓ٨ଃ ᑗ໌‫܂‬፿ऄሎ‫܂໌ߪ۞࣍ش‬հխΔཚ౨੡ߓ٨ଃᑗ໌‫ࣹ܂‬Եᄅऱ塄։Ζᓵ֮٥։੡ք ີΚรԫີψፃᓵωΔᎅࣔઔߒ೯ᖲፖ‫ؾ‬ऱΔ‫֗א‬ઔߒֱऄፖᓵ֮ਮዌΙรԲີψؒሼ ౿‫ؓس‬ፖ‫ז‬।‫܂‬঴ᄗ૪ωΔ‫ؓس‬ඖ૪ࠡਐཀፖ໌‫܂‬હནΔ‫ז‬।‫܂‬঴ঞ‫֫܂໌א‬ऄᣊী੡ ֊Եߡ৫ၞ۩ᄗ૪ΙรԿີψߓ٨ଃᑗᄗ૪ωΔ։੡ߓ٨ଃᑗᄭದፖ࿇୶Ε֗ߓ٨ଃᑗ ፿ऄፖᑑ‫ق‬ᣊܑΙร؄ີψπ࿨ዌρτԫυᑗ‫ڴ‬։࣫ωΔ‫ܶץ‬τ1aυΕτ1bυΕτ1cυ։૪‫א‬ ֗π࿨ዌρ τԫυհጵ‫ٽ‬։࣫Ιรնີψ۞‫ݺ‬ଃᑗ໌‫܂‬෻࢚հኔᔌω Δ੡࿝ृ‫ڇ‬ઔߒπ࿨ ዌρτԫυ৵ࢬၞ۩ऱሎ‫ش‬Ιรքີψ࿨ᓵωΔ᜔࿨٤֮Δࠀ༼‫נ‬࿝ृհઔߒ֨൓Ζ. ᣂ᝶‫ڗ‬Κؒሼ౿Ε࿨ዌԫΕߓ٨ଃᑗΕԼԲଃ٨ iii.

(6) Abstract After influenced by the twelve-tone series of the Second Viennese School in Austria, in 1949-1950, Olivier Messiaen composed a piano piece Quartre études de rythme. Its second piece is “Mode de valeurs et d’intensités,” which gave the first example of serial music. Pierre Boulez, a student of Messiaen, is still an active French composer and a conductor presently. Affected by the piece, Boulez composed structures “I” for two pianos based on total serialism, in which pitches, values, dynamics, and articulations are in certain matches. The essay mainly discusses the diverse facets of serial music through researching on Boulez’s Structures “I.” The writer puts the serial compositional idioms into practice in his own composition, in the hope of giving new nutrients to the serial music composition. The essay is divided into 6 chapters: chapter 1 “research motivation” explains the motivation, purpose, and the methods as well as the structure of the research; chapter 2 “the overview of Boulez’s life and works” simply tells his living, compositional, and conducting background, while his important works are briefly told according to his compositional techniques; chapter 3 “the introduction of serial music” are divided into its origin and development, as well as its idioms and the kinds of marking it; chapter 4 “an analysis of Structures ‘I’ ” includes the respective analysis of “1a,” “1b,” and “1c” as well as the analysis of the entire work; chapter 5 “the fulfillment in my own music compositional ideas” is the application after the writer finishes the research of Structures “I;” chapter 6 “conclusion” summarizes the whole text, and the writer proposes his thought after the research.. Key words: Boulez, Structures I, serial music, twelve-tone series iv.

(7) ‫ؾ‬ᙕ ᝔᢯ .......................................................................................................................................................... i խ֮ኴ૞ ................................................................................................................................................ iii ૎֮ኴ૞ ................................................................................................................................................ iv รԫີ ፃᓵ ........................................................................................................................................... 1 รԫᆏ. ઔߒ೯ᖲፖ‫ؾ‬ऱ ............................................................................................................. 1. รԲᆏ. ઔߒֱऄፖᓵ֮ਮዌ ..................................................................................................... 3. รԲີ ؒሼ౿‫ؓس‬ፖ‫ז‬।‫܂‬঴ᄗ૪ ................................................................................................... 7 รԫᆏ. ؒሼ౿‫ؓس‬տฯ ............................................................................................................. 7. รԲᆏ. ؒሼ౿‫ז‬।‫܂‬঴ᄗ૪ ................................................................................................... 10. รԿີ ߓ٨ଃᑗᄗ૪ ......................................................................................................................... 15 รԫᆏ ߓ٨ଃᑗᄭದፖ࿇୶ ..................................................................................................... 15 รԲᆏ ߓ٨ଃᑗ፿ऄፖᑑ‫ق‬ᣊܑ ............................................................................................. 23 ร؄ີ π࿨ዌρτԫυᑗ‫ڴ‬։࣫ ..................................................................................................... 27 รԫᆏ. ໌‫܂‬હནፖᑗ‫ڴ‬ਮዌ ................................................................................................... 27. รԲᆏ τ1aυ ............................................................................................................................. 27 รԿᆏ τ1bυ ............................................................................................................................. 37 ร؄ᆏ τ1cυ ............................................................................................................................. 41 รնᆏ π࿨ዌρτԫυጵ‫ٽ‬։࣫ ............................................................................................. 55 รնີ. ۞‫ݺ‬ଃᑗ໌‫܂‬෻࢚հኔᔌ ................................................................................................... 59. รԫᆏ ೏஡ଶπ‫ޡ‬ኪρѧѧ੡ᠨᙓྶ ..................................................................................... 59 รԲᆏ ೏஡ଶπ۩ளρѧѧ੡ᙓྶᗑ৉ ................................................................................. 69 รքີ ࿨ᓵ ......................................................................................................................................... 77 ೶‫ە‬஼‫ ؾ‬............................................................................................................................................... 81 ॵᙕ ....................................................................................................................................................... 85 μॵᙕԫνؒሼ౿‫ז‬।‫܂‬঴‫ڣ‬। ............................................................................................... 85. v.

(8) μॵᙕԲνؒሼ౿π࿨ዌρτԫυᙕଃठ‫ ء‬........................................................................... 88 μॵᙕԿν೏஡ଶπ‫ޡ‬ኪρѧѧ੡ᠨᙓྶ ............................................................................... 89 μॵᙕ؄ν೏஡ଶπ۩ளρѧѧ੡ᙓྶᗑ৉ ......................................................................... 123. vi.

(9) รԫີ ፃᓵ. รԫᆏ ઔߒ೯ᖲፖ‫ؾ‬ऱ ֥‫׈‬ધଃᑗດዬ‫ط‬ᓳࢤၞԵॺᓳࢤΔ‫ڇ‬ଃᑗ‫׾‬Ղข‫س‬Ա؎Օऱ᧢଀Ζଃᑗଅ௑‫ޓ‬ ਢ‫ۍ‬୮ञᏓΔપฃൕรԲ‫੺׈ڻ‬Օᖏ 1945 ‫ڣ‬࿨‫ޔ‬੡։ֽᚢΔհছ‫۫ڇ‬ᑛ‫ٱڶ‬ွ‫׌‬ᆠ ΰImpressionismαΕᄅ‫׌ࠢײ‬ᆠΰNeo-classicismαΔ‫ڇ‬ᐚ჋‫چ‬೴ঞ‫נ‬෼Ա।෼‫׌‬ᆠ ΰExpressionismαΙ1945 ‫ڣ‬հ৵Ծ‫ߓא‬٨ଃᑗΰSerial musicαΕᖲሎଃᑗΰAleatoryαΕ ሽ՗ଃᑗΰElectronic MusicαΕ‫ૻ܅‬ଃᑗΰMinimal musicα੡‫׌‬Ζ ֥‫׈‬ધছཚΔ‫ٱ‬ွ‫׌‬ᆠএ‫ݤ‬Ԅ௃གჹ‫ܭ‬ቺ୯ੁᅐЬက‫ޑ‬ϸ୏Ǵаག‫ޑ۔‬ᇨൽҬᙃ ԶԋǴҔа‫ڗ‬ж๮਱ય኷ࢴ‫ݱ‬ᔲ‫ޑ‬௃གǹ1 ᄅ‫׌ࠢײ‬ᆠঞൎᓳ១໢Ε堚ཐΕፖ఼‫ݧ‬ऱ ૹ૞ࢤΔཎ௽ࢮᄵཎഗΰIgor Stravinsky, 1882-1971αᎁ੡Κ‫׎‬Ԅ‫ޑ‬ाન໪ຬຫ௃ག‫ޑ‬ ाનΙ2 ‫߄׼‬౜Ьကୃངዋࢴ‫ޑ‬ਏ݀ǵӾ᎒‫ޑ‬௃ᆣǵ‫ڻ‬౦ǵᎲ៤ᆸᆶђ‫ޑ܁‬٣‫ނ‬Ǵё ஒ‫ځ‬ຎࣁࠟԝϐੁᅐЬက‫ޑ‬നࡕࠠᄊǹ3 ၞԵ֥‫׈‬ધխᆺ৵Δߓ٨ଃᑗਢኙଃ೏Εழ ଖΕԺ৫ፖଃ‫ۥ‬ᖞ᧯ऱߓ٨֏Δ᥆࣍ᣤ௑ऱ൳ࠫΙۖᖲሎଃᑗঞਢ‫ף‬ԵԱ‫אڍޓ‬ዝ‫נ‬ ृ‫ߪء‬Εࢨ੷۟‫א‬ᛩቼ੡᧢ᑇऱଃᑗΔ᥆࣍‫ܛ‬ᘋ‫ڤ‬ऱ۞‫ط‬ΙྥۖΔຝ։ߓ٨ଃᑗ‫࣍ط‬ ֜መ෻ࢤΔທ‫ࠡګ‬ፖᖲሎଃᑗᦫದࠐ‫ࠄڶ‬๺ᣊ‫ۿ‬ΔԲृઃ‫ױ‬ข‫س‬լቃཚࢤѧѧছृਢ ‫ृᦫ࣍ط‬ኙ࣍ଃ೏ΕழଖΕԺ৫ፖଃ‫ۥ‬؄ጟ೶ᑇऱ‫۞ٺ‬ᗑ‫ࢬم‬ข‫س‬ऱլቃཚࢤΔۖ৵ ृऱլቃཚࢤঞਢ‫࣍ط‬ᖲሎऱ‫ګݮۖైڂ‬Ζ ࿝ृམ࣍Օᖂழ‫ז‬ቫᇢ‫ߓא‬٨ଃᑗ֫ऄᐊ‫܂‬π༈ѧѧ੡ᙓྶᗑ৉ρ ΰSearching—for 1. Joseph Machlis, Introduction to Contemporary Music, 2nd ed. (New York: W. W. Norton & Company, 1979), 89. 2. Ibid., 161.. 3. Ibid., 138. 1.

(10) Piano Solo, 2008αऱࠡխԫଡ੄ᆵΔᅝழઔᦰමྉऱπ؄ଈᆏ৉ᒭ฾‫ڴ‬ρ ΰQuartre études de rythme, 1949-1950αխऱรԲଈτழଖፖԺ৫ऱᑓ‫ڤ‬υΰ“Mode de valeurs et d’intensités,” 1949-1950αΖ‫ڇ‬แᦫຍଈᑗ‫ڴ‬ழΔ࿇෼ᐈᐖऱଃ഑‫ף‬Ղլ‫ٵ‬ऱԺ৫ፖழ ଖΔଃᑗ‫࢕ݯ‬ԫ‫ۃ‬ᑢዲຘࣔऱֽΔ‫ٺ‬ଡଃฤլቃཚ‫چ‬௬‫૿ֽנ‬ΔઌᅝዦॽΔࠌ࿝ृኙ ߓ٨ଃᑗข‫س‬ᘋᔊΖԾ࣍ጚԫଥ฾ψऄഏ२‫ז‬ଃᑗωᓰ࿓Δ៳஘ΰErik Satie, 1866-1952α Ε ‫ر‬٨౿ΰEdgard Varèse, 1883-1965αΕऄഏքԳิΰLes sixαΕ4 ૉ‫ܓ‬ፂΰAndré Jolivet, 1905-1974α ΕමྉΰOlivier Messiaen, 1908-1992α Ε‫ޙ‬஘֠ΰHenri Dutilleux, 1916- αऱ ‫܂‬঴ຟฃ‫֗༼ڶ‬Δഄᗑ‫ؒࠩ༼آ‬ሼ౿ΰPierre Boulez, 1925- αຍ‫۟ۯ‬վս੒ᥬ࣍ऄഏ ᑗᕽऱ‫ڴ܂‬୮ଫਐཀ୮ऱ‫܂‬঴Ζ ࠡᠨᙓྶ‫܂‬঴π࿨ዌρ‫ڶ‬Բ‫ם‬Δπ࿨ዌρτԫυΰStructures “I,” 1951-1952αආ‫ߓش‬ ٨ଃᑗ֫ऄΔ π࿨ዌρ τԲυ ΰStructures “II,” 1956-1961αආ‫ش‬ᖲሎଃᑗ֫ऄΖ‫ڂ‬π࿨ዌρ τԫυ੡‫ڰ‬ཚ٤᧯ߓ٨֏ΰintegral serialismαհ‫܂‬঴Δࠡૹ૞ࢤլࠅ࣍මྉհᙓྶ‫܂‬ ঴τழଖፖԺ৫ऱᑓ‫ڤ‬υ Δፖ‫܌ڮ׾‬ᎌཤΰKarlheinz Stockhausen, 1928-2007α੡ᠨ៝ጥΕ ‫܅‬ଃ໢៝ጥΕᙓྶፖ؄‫ؚۯ‬ᚰऱ৛փᑗπٌՐሏᚭρΰKreuspiel, 1951αΖ ߓ٨ଃᑗ‫֫ڴ܂‬ऄএᄭ۞࣍჋ഏψᄅፂՈ౏ᑗ੔ωΰThe Second Viennese Schoolα ऱψԼԲଃ٨‫׌‬ᆠω ΰtwelve-tone serialismα ΚലԫଡԶ৫ԼԲଡଃီ੡‫ٵ‬࿛ૹ૞Δ‫ڇ‬Լ Բଡଃઃ‫נ‬෼‫א‬ছլ൓ૹᓤΔ‫ٵױ‬ଃฆ‫ࢨټ‬լ‫ٵ‬Զ৫‫ܧ‬෼Ζᠿ‫ء‬ΰAnton Webern, 1883-1954αኙֲ৵ߓ٨ଃᑗऱᐙ᥼֠ࠡᏣ௺Δۖ‫ط‬මྉࢬၲඔ٤᧯ߓ٨֏հ٣ࣾΔࠩ Ա‫܌ڮ׾‬ᎌཤፖؒሼ౿֫խ‫ڶ‬լ‫ٵ‬ऱ๠෻ֱऄΔྥۖමྉඡཚথធ֟‫ߓא‬٨ଃᑗ፿ऄ. 4. ԫ‫ۯ‬ऄഏಖृ࿯ղψքԳิωհጠᇆΔࠡխ‫ڶ‬૭ᅗΰLouis Durey, 1888-1979α Εᑛփ௑ ΰArthur Honegger, 1892-1955α Ε‫ۏ‬໯ΰDarius Milhaud, 1892-1974α Εᚮળ၄ዿΰGermaine Tailleferre, 1892-1983α Ε௥ி‫܌‬ΰFrancis Poulenc, 1899-1963α Εᑛ‫܌م‬ΰGeorges Auric, 1899-1983α Δin J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 7th ed. (New York: W. W. Norton & Company, 2006), 868. 2.

(11) ၞ۩໌‫܂‬Δؒሼ౿ऱπ࿨ዌρτԫυፖࠡૹ૞ࢤ‫ߠױڼط‬ԫཌΖ5 ‫׼‬ഏփᣂ࣍ߓ٨ଃᑗհጚ໑Փᓵ֮ࡸլ‫ߩך‬Δ6 ഏ؆֮᣸ឈπ࿨ዌρ τԫυᇷறࡸ ‫ߩך׊‬Δথ‫א‬τ1aυࡺ‫ڍ‬Δࠡᖞଈᑗ‫ڴ‬ऱ‫ݙ‬ᖞ։ٍ࣫֟հԾ֟Δਚ࿝ृެࡳᙇᖗؒሼ ౿ऱπ࿨ዌρ τԫυ‫܂‬੡‫ڻڼ‬ઔߒऱ‫׌‬ᠲΖ‫ݦ‬ඨԫֱ૿౨ജᆖመ։࣫ઔߒΔԱᇞπ࿨ዌρ τԫυᇙԿີΰchaptersα7 ऱ‫ٵ‬ᔆࢤፖฆᔆࢤΔ‫׼‬ԫֱ૿൓‫א‬ലࢬઔߒհ֨൓Δሎ‫ش‬ ‫܂໌ߪ۞ڇ‬ՂΖ. รԲᆏ ઔߒֱऄፖᓵ֮ਮዌ ‫ء࣍ط‬ᓵ֮ऱ‫ؾ‬ऱ‫࣍ڇ‬൶ߒؒሼ౿π࿨ዌρऱ໌‫֫܂‬ऄΔ‫ڼڂ‬ലઔߒऱᒤ໮๻ࡳ ‫܂ڼڇ‬঴խΔࠀ‫ߓא‬٨ଃᑗፖᠨᙓྶ‫܂‬੡‫׌‬૞ઔߒ‫׌‬ᠲΔ‫ޓ׊‬ၞԫ‫چޡ‬ሎ‫໌ݺ۞࣍ش‬ ‫܂‬ऱኔᔌհխΖ‫ء‬ᓵ֮ઔߒֱऄ‫ڕ‬ՀΚ ԫΕᒔࡳᓵ֮ᠲ‫ؾ‬ ൕ۞‫܂໌ݺ‬ऱᆖ᧭‫נ‬࿇Δ৸౉ઔߒऱᠲ‫ޗ‬Δެࡳ‫ߓא‬٨ଃᑗ੡‫׌‬૞ֱ‫ٻ‬հ৵Δၲ ࡨ፦ႃઌᣂ֮᣸ፖแᦫߓ٨ଃᑗ‫܂‬঴Ζ‫܂ڇ‬঴խΔᙇࡳԱؒሼ౿π࿨ዌρ τԫυ੡‫׌‬૞ ᠲ‫ؾ‬Δࠀჼ༈ნᖞઌᣂᓵ֮ઔߒ२उΔ່৵ᒔࡳᓵ֮‫׌‬ᠲΖ ԲΕ፦ႃᇷறፖᔹᦰᖞ෻ Օၦ፦ႃ‫ڴ܂‬୮ؒሼ౿‫ؓس‬ᇷறፖ‫ז‬।‫܂‬঴տฯΔ௽ܑထૹ࣍π࿨ዌρ τԫυ໌‫܂‬ ֫ऄհઔߒΔ֧‫۟ش‬ᓵ֮խ‫א‬੡۸ᢞΔᇡ‫ף‬ઔᦰፖ։ᣊΔ‫ֲܓא‬৵ઔߒհ‫ش‬Ζ ԿΕᚵࡳጼ૞ ‫א‬ઔߒ‫׌‬ᠲ࿨‫ޡٽ‬ᨏԲࢬ‫ބ‬༈ࠩऱᇷறΔอᖞ։ᣊΔ‫ڇ‬ေ۷፦ႃࠩऱ٤ຝᇷற৵Δ. 5. ‫ڶ‬ᣂԼԲଃ٨ፖߓ٨ଃᑗല࣍รԿີᇡ‫ף‬տฯΖ. 6. ஃՕଃᑗߓᄘቯࢣམ࣍ 2010 ‫ڣ‬ᐷᐊጚՓᓵ֮τ‫܌ڮ׾‬ᎌཤπٌՐሏᚭρઔߒυ Ζ. 7. ։ܑ੡τ1aυ Ετ1bυፖτ1cυ Ζ 3.

(12) ‫ף‬Ղ։࣫ࡉ۞‫ݺ‬ऱ‫܂‬঴Δᖞ෻‫נ‬ය٨‫ڤ‬ऱጼ૞Ζ ؄Εࠉᖕઔߒհ֨൓Δኔᔌ࣍۞‫܂໌ݺ‬ ਊᅃᓵ֮‫׌‬ᠲჼ༈ᇷறࠀ։࣫π࿨ዌρ τԫυऱ໌‫܂‬፿ऄ৵Δፖ۞‫ݺ‬։࣫հઔߒ֨ ൓ၞ۩ნᖞΔࠀᙇ༵ຝ։᧯෼࣍࿝ृհ໌‫܂܂‬঴ᅝխΖ նΕᐷᐊփ୲ ࠉᅃ‫ޡ‬ᨏԿࢬᚵࡳհጼ૞Δᐷᐊᓵ֮փ୲Δࠀ‫א‬፦ႃऱᇷறፖ۞‫ݺ‬։࣫੡‫׌‬Δထ ณ࣍ࠡ৵ऱ۞‫܂܂໌ݺ‬঴Δག֧٣ছ։࣫π࿨ዌρ τԫυ໌‫֫܂‬ऄհᇷற੡۸ᢞΔᐷᐊ ᓵ֮փ୲Ζ ‫ء‬ᓵ֮հਮዌᇡ٨‫ڕ‬ՀΚ รԫີʳ ፃᓵ รԫᆏ รԲᆏ. ઔߒ೯ᖲፖ‫ؾ‬ऱ ઔߒֱऄፖᓵ֮ਮዌ. รԲີʳ ؒሼ౿‫ؓس‬ፖ‫ז‬।‫܂‬঴ᄗ૪ รԫᆏ รԲᆏ. ؒሼ౿‫ؓس‬տฯ ؒሼ౿‫ז‬।‫܂‬঴ᄗ૪. รԿີʳ ߓ٨ଃᑗᄗ૪ รԫᆏ รԲᆏ. ߓ٨ଃᑗᄭದፖ࿇୶ ߓ٨ଃᑗ፿ऄፖᑑ‫ق‬ᣊܑ. ร؄ີʳ π࿨ዌρτԫυᑗ‫ڴ‬։࣫ รԫᆏ ໌‫܂‬હནፖᑗ‫ڴ‬ਮዌ รԲᆏ τ1aυ รԿᆏ τ1bυ ร؄ᆏ τ1cυ รնᆏ π࿨ዌρτԫυጵ‫ٽ‬։࣫ รնີʳ ۞‫ݺ‬ଃᑗ໌‫܂‬෻࢚հኔᔌ รքີʳ ࿨ᓵ 4.

(13) ೶‫ە‬஼‫ؾ‬ ॵᙕ. 5.

(14)

(15) รԲີ ؒሼ౿‫ؓس‬ፖ‫ז‬।‫܂‬঴ᄗ૪. รԫᆏ ؒሼ౿‫ؓس‬տฯ ؒሼ౿੡ᅝվૹ૞ऱऄഏ‫ڴ܂‬୮ፖਐཀ୮Δ1925 ‫ ڣ‬3 ִ 26 ֲ‫࣍س‬ऄഏխຝऱ፞ ௽ؒߺ࣪ΰMontbrisonαΔ‫׀‬ᘣ੡ՠ࿓ஃΖ۞՛‫ܛ‬ኙଃᑗፖᑇᖂੌ᥻೏৫ᘋᔊΔࠀ‫ף‬Ե ᆣ‫ۦ‬ᆳ‫ڜ‬ΰSt Etienneα֚‫׌‬ඒᖂீऱ‫ٽ‬ഀቸΔ‫׊‬໛‫ړ‬ᐘ৉ᙓྶΙ8 ॹ֟‫ڣ‬ழཚམ‫ף‬Ե ߺ࣓ՕᖂΰUniversité de Lyonαᖂ฾೏࿛ᑇᖂΖ9 1942 ‫ڣ‬ছ࢓֣ᕟΔ‫آ‬ᙅൕ‫׀‬ᘣ৬ᤜΔ ༉ᦰጵ‫ٽ‬෻ՠᖂೃΰÉcole Polytechniqueα ΔথᙇᖗၞԵ֣ᕟ೏࿛ଃᑗೃΰConservatoire national supérieur de musique et de danse de Parisα༉ᦰΔ‫ڴ܂‬ஃࠃමྉΕ༽ࢮؒ௑ΰAndrée Vaurabourg, 1894-1980αΔፖᘸ໑ፂಅΰRené Leibowitz, 1913-1972α࿛ԳΖࡉᜢఄஃൕ මྉΔ‫ ڇ‬1945 ‫ڣ‬൓ࠩรԫՕᑻΰpremier prixαΖ‫࣍ط‬ኙ֣ᕟଃᑗೃለঅ‫ښ‬ऱᓰ࿓ტࠩ ؈ඨΔ‫ߏۖڂ‬Հፖ༽ࢮؒ௑ѧѧ჋ԯ௑հࡠѧѧᖂ฾ኙ‫ۯ‬ऄΖ ‫ڇ‬මྉऱᓰഘՂΔමྉᎁ੡ؒሼ౿‫ڇ‬ଃᑗ։ֱ࣫૿ऱ।෼ઌᅝໃ‫נ‬Δؒሼ౿‫ڼڂ‬ ଍ᤚ࠹ࠩቔᚐፖ༇ૹΖ‫ڴ܂ီה‬੡ኙભᖂၞ۩൶ߒऱ‫ڤݮ‬Δࠀ৬‫ڇم‬ᣤ௑ऱ๵ঞፖ᧤ ᙀՂΔᎁ੡ԾੁᅐЬကǴ‫ئ‬዗‫ঁޑ‬Γ॥਱ว৖‫ූޑ‬ӸǴ΋ᗺΨόख़ाǶ10 ៶ထኙ‫૿ֱڴ܂‬ભᖂऱ൶ߒΔᨃ‫ה‬෡ࠥԱᇞॺᓳࢤऱ‫ؘ‬૞Δ࠹ࠩමྉऱᐙ᥼Δኙ ψߓ٨‫׌‬ᆠω‫ך‬የᘋᔊΔ11 ࠀሎ‫ߓߪ۞࣍ش‬٨ଃᑗ‫܂‬঴ᅝխΚࠡπ࿨ዌρ τԫυऱଃ೏. 8. G. W. Hopkins, “Pierre Boulez,” in Twentieth-century French Masters: Fauré, Debussy, Satie, Ravel, Poulenc, Messiaen, Boulez, The New Grove, ed. Jean-Michel Nectoux et al. (New York: W. W. Norton & Company, 1986), 251. 9. ್堚Δ πԲԼ‫׈‬ધᑛભଃᑗଅ௑ρ ΰ‫ק؀‬Κᄘཕ֮֏ࠃᄐैٝ‫ૻڶ‬ֆ‫׹‬Δ2000α Δ162Ζ. 10. “… the cult of personal stylistic development – a hangover from Romanticism – counted for nothing.” G. W. Hopkins, 252. 11. ᄘުոΔπଃᑗ‫׾‬ፖࣲᓾρ ΰ‫ק؀‬Κભᑗ‫נ‬ठषΔ2009α Δ459Ζ 7.

(16) ፖழଖߓ٨‫۞ش֧ܛ‬මྉऱᙓྶᒭ฾‫ڴ‬πழଖፖԺ৫ऱᑓ‫ڤ‬ρ Ζ‫ٍ׼‬ኙᐚؒ۫ΰClaude Debussy, 1862-1918αፖ‫ڰ‬ཚཎ௽ࢮᄵཎഗऱ‫܂‬঴෡ტᘋᔊΔીԾᙟᘸ໑ፂಅᓮඒΔߏ Հᖂ฾‫ڴ܂‬Ζᘸ໑ፂಅਢᠿ‫ࡉء‬ಃߦ௑ΰArnold Schönberg, 1874-1951αऱᖂ‫س‬Δᅝழ ֣ᕟԳኙԼԲଃ᧯ߓԱᇞ੷֟Δᘸ໑ፂಅຘመඒᖂ‫ګ‬੡ಃߦ௑࣍ऄഏऱ‫ז‬෻ԳΔᝫ‫נ‬ ठԱπಃߦ௑ࡉ‫ה‬ऱᖂ੔ρ ΰSchoenberg et son école, 1947α Ζ12 ؒሼ౿࠹।෼ᑗ੔ऱᐙ ᥼ΔམᎅመΚҺՖؒԖ࿶ᐕΜΒॣᇟ‫ॣޑݤ‬኷ৎࢂคҔ‫ޑ‬Ƕ13 ‫אה‬ᠿ‫ء‬৵ཚଃᑗխᣤ ᠃‫ڜ‬ඈऱඝ৳ΕࡉᜢΕኙ‫܂ۯ‬੡‫נ‬࿇រΔ‫܀‬ᎁ੡ຍᑌऱ‫܂‬঴౒‫׎‬੒Ժፖ٠ᖻΔ࣍ਢԾ ᖂ฾මྉΕᐚؒ۫ଃᑗխऱᆏ৉ፖଃ‫ۥ‬Δ‫֗א‬ཎ௽ࢮᄵཎഗΕಃߦ௑‫܂‬঴խऱ।෼‫׌‬ ᆠ௽ᐛΔ‫ܛ‬ਢ࿨‫ٽ‬Աᣤയऱᑇᖂፖ‫׌‬ᨠऱტൣ।෼Δၞۖ‫ࠡګݮ‬ᗑ௽ଅ௑Δ‫ڶڼڂ‬Գ ጠհ੡ψᄅ‫ٱ‬ွ‫׌‬ᆠऱߓ٨ଃᑗωࢨψࢼွऱ‫ٱ‬ွ‫׌‬ᆠωΖ14! ࣍ 1946 ‫ڣ‬Δ‫ط‬჋ԯ௑ං៺ၞԵ֣ᕟ್ߺ‫؍‬ዚᏣೃΰTheatre Marignyαᖜ֣ٚᢅѧ ሼᘭዚᏣቸΰBarrault-RenaudαऱଃᑗਐᖄፖਐཀΖ15ʳ ៶ထπֽհၺρ ΰLe Soleil des eaux, 1950αፖπᙓྶ৉Ꮣ‫ڴ‬รԲᇆρ ΰPiano Sonata No. 2, 1947-1948αऱ࿇।Δࠌؒሼ౿‫ګ‬੡՛‫ټڶ‬௛ऱ‫ڴ܂‬୮Ζ 1950 ‫זڣ‬৵Δ௽ܑਢ‫ ڇ‬1954 ‫؍ߺ್࣍ڣ‬ዚᏣೃ֣ᢅѧѧሼᘭቸऱ࠰‫ܗ‬հՀ໌‫م‬ ψଃᑗᏆ഑ωΰDomaine Musicalα Δ‫֣ڇ‬ᕟࡳཚᜰᙄ෼‫܂ז‬঴࿇।ᄎΔտฯ‫א‬।෼ᑗ੔ ੡‫׌‬հ‫ڴ܂‬୮ѧѧಃߦ௑Εᠿ‫ء‬Εߦዿ௑ΰAlban Berg, 1885-1935α࿛Գѧѧհ‫܂‬঴Δ. 12. ᝻՗ࣥΔπ20 ‫׈‬ધֱ۫ଃᑗρΰ‫ࠇק‬Κխ؇‫ا‬ගՕᖂΔ2006α Δ191Ζ. 13. “… any musician who has not experienced … the necessity of dodecaphonic language is USELESS.” In Paul Griffiths, Modern Music and After: Directions since 1945 (New York: Oxford University Press, 1995), 41. 14. ᝻՗ࣥΔ191-192Ζ. 15. ್堚Δ162Ζ 8.

(17) ‫୶ۖڂ‬ၲԱਐཀ‫س‬ෑΖ16 ೈਐཀ‫ڣ‬᎘‫ڴ܂‬୮ऱ‫܂‬঴؆Δٍਐཀ۞աऱ‫܂‬঴Δࠏ‫ڕ‬੡Ֆ ೏ଃፖ৛փᑗ‫ڴ‬πྤ‫׌‬հዕρ ΰLe Marteau sans maître, 1953-1955α Ζ1955 ‫ڣ‬ᖜٚψഏᎾ ሒࡥৄᄅଃᑗ୙‫ח‬ᛜωᝑஃΖ17 1957 ‫࣍ڣ‬ઝၼଈዝ੡Ֆ೏ଃፖ৛փᑗ‫ڴ‬πദ៖ऱᜭ֞ρ ΰLe Visage nuptial, 1946-1947α Ιሶ‫ڣ‬լႛ࣍ऄഏਐཀଈዝጥฬᑗ‫ڴ‬πૹᦤρ ΰDoubles, 1958α Δᝫٚ۫ᐚ۫তᐖᐾሽ‫؀‬ΰSWFαጥฬᑗቸਐཀΔଈዝ੡նᜢሐሽᜢଃᑗፖԿଡ ᑗቸհ‫܂‬঴π౨ၦհᇣρΰPoésie pour pouvoir, 1958αΙ1960 ‫࣍ڣ‬ઝၼ٦‫࠹ڻ‬ᝮਐཀ‫ٵ‬ ԫᑗቸዝ‫נ‬π‫ᦤމ‬ΘࠉᖕΘૹᦤρ ΰPli selon pli, 1957-1962α Δࠀ‫ګ‬੡ᇠᑗቸऱড়ஂਐཀΔ ࡳࡺ֣࿆֣࿆࣍ΰBaden-BadenαΔ‫܂א‬੡ኙঅ‫ښ‬ऄഏଃᑗऱ֘‫ݼ‬Ζ18 1958-1962 ‫ڣ‬Δ໌‫܂‬ၦฃ੡྇֟Δۖലࠡଃᑗ৸უಖᙕ‫ڇ‬ᓵ૪‫؏ݾ‬ፖભᖂऱ֮ີ փΔۖຍࠄ֮ີΔ‫ڶ‬๺‫ڍ‬๯፦ႃ‫ڇ‬πᖂஈધᙕρΰRelevés d’apprentiαᇙΖ 1963 ‫࣍ڣ‬ભഏশ۵ՕᖂᖜٚᝑஆፖᅗՓ֣᝛ዿΰBaselαଃᑗᖂೃ‫ڴ܂‬ඒ඄ԫ៭Δ ਢ‫֣࣍ڣ‬ᕟዚᏣೃΰParis Opéraαਐཀߦዿ௑ऱዚᏣπٔ७‫܌‬ρΰWozzek, 1917-1922αΙ ‫ ڂ‬1965 ‫࣍ڣ‬૎ഏფԭ໵ଃᑗᆏਐཀπ‫ᦤމ‬ΘࠉᖕΘૹᦤρ Δۖᛧ൓ 1966 ‫࣍ڣ‬ᐚഏਈᕙ ௽ଃᑗᆏਐཀဎ௑౏ΰRichard Wagner, 1813-1883αዚᏣπࢆ۫ऄዿρ ΰParsifal, 1857-1882αऱᖲᄎΔࠀᙕଃ‫נ‬ठΔ‫ګ‬੡‫ءה‬Գ‫ ڇ‬DG ࿇۩ऱଈ്ഀׂΖ19 1967 ‫۟ڣ‬ 1972 ‫ڣ‬ၴ᎛૥ᄅՕຬΔᖜٚભഏ‫֛ߺ܌‬ᥞጥฬᑗቸΰCleveland Philharmonic Orchestraα ড়ஂਐཀΙ‫ ࣍׼‬1971 ‫ڣ‬ᖜٚ૎ഏ BBC ٌ᥼ᑗቸਐཀΔ໰ጠ੡ଈ৫‫ނ‬෼‫ז‬ऱছᓡ੔ଃ. 16. 17. ᑰ઄ᚊΔπᨃ‫ݺ‬ଚࠐࣲᓾ෼‫ז‬ଃᑗρΰ‫ק؀‬ΚՕຬ஼ࢋΔ1999α Δ88Ζ Ibid.. 18. G.W. Hopkins and Paul Griffiths, “Boulez, Pierre,” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/03708 (accessed June 22, 2012). 19. ࣥ৸ߦΔ τؒሼ౿πྤ‫׌‬հዕρ֗۞‫܂໌ݺ‬ऱ։࣫ፖઔߒυ ΰഏ‫م‬ፕ᨜ஃᒤՕᖂጚՓᓵ֮Δ 2008α Δ9Ζ 9.

(18) ᑗ‫܂‬঴൅Եଃᑗᨚऱଃᑗ୮Ƕ20!ᇠ‫ٵڣ‬ழᖜٚోપფᑗٌ᥼ᑗቸਐཀΔࠡ৵։ܑ࣍ 1974 ‫ڣ‬ፖ 1977 ‫ڣ‬᢯‫װ‬ਐཀऱ៭‫ۯ‬Ζ 1976 ‫ڣ‬Δ‫ה‬ᚨऄഏਙࢌհᝮΔ໌‫م‬ψᅝ‫ז‬৛փᑗႃωΰEnsemble InterContemporinΔ១ጠ EICαΔࠀ࣍ψଃᑗፖᜢᖂ࠰ᓳઔߒխ֨ωΰInstitut de Recherche et Coordination Acoustique/MusiqueΔ១ጠ IRCAMαᖜ᜔ٚ጑ΔીԺ࣍ᅝ‫ז‬ଃᑗհઔߒፖ ࿇୶Ι‫ڼ‬؆Δٍ‫ݮޓ‬ឩ‫ࠡך‬ᐊ‫܂‬፿ऄऱᐖ৫ፖ෡৫Ζ‫࣍ڣٵ‬ਈᕙ௽ਐཀπਐᛩρ ΰRing, 1848-1874α Δࠀ࣍ 1979 ‫ڣ‬೗֣ᕟዚᏣೃΔലߦዿ௑ऱᙊ‫܂‬ዚᏣπ᥻᥻ρ ΰLulu, 1929-1935α ᤂ྽ਐཀࠀֆၲଈዝ‫ݙ‬ᖞऱዚᏣΖ21. รԲᆏ ؒሼ౿‫ז‬।‫܂‬঴ᄗ૪ ؒሼ౿ऱ‫܂‬঴‫ܶץ‬ጥฬᑗΕ৛փᑗΕᕴᑗᗑ৉Δፖ጖൅ΰtapeαଃᑗΙۖࠡ໌‫֫܂‬ ऄঞᖩሀߓ٨ΕᖲሎΕሽ՗ଃᑗΖ‫ڰ‬ཚ‫܂‬঴ս‫אڶ‬೯ᖲ࿇୶፿ऄ੡໌‫܂‬৸ፂΔ‫܀‬ਢ࿑ ඡऱ໌‫܂‬༉ለ֟ߠ‫א‬೯ᖲ࿇୶፿ऄຍᑌऱ໌‫܂‬৸ፂၞ۩໌‫܂‬Ζ22 ‫ڰڇ‬ཚऱ‫܂‬঴‫ڶ‬ԼԲଈ੡ᙓྶऱᗑ৉‫ڴ‬πಖᢜρ ΰNotations, 1945αፖπ੡९ยፖᙓ ྶऱ՛৉Ꮣ‫ڴ‬ρ ΰSonatina for Piano and Flute, 1946α Ζؒሼ౿‫ڇ‬π੡९ยፖᙓྶऱ՛৉ Ꮣ‫ڴ‬ρխΔլ‫܀‬ቫᇢലಃߦ௑ऱଃ٨‫אף؏ݾ‬ឩՕΔࢬ൳ࠫऱ૞ైլႛ‫࣍ૻ׽‬ଃ೏Ι ‫ڼ‬؆Δࡸ޵࠷‫۔‬ஃමྉऱᐘࢤᆏ৉Δሎ‫۞ࠩش‬աऱԼԲଃ፿ऄխΖؒሼ౿མᎅΚ‫ך‬ಃ ΋ԛӧђ‫ॣڂ‬ӈ‫่ޑ‬ᄬύ೛ीᐱҥ‫ޑ‬࿯ࠩࢎᄬǴఘ෩ςӛ‫ך‬ඟҢ೭ᅿ࿯ࠩࢎᄬว৖‫ޑ‬. 20. ᄘުոΔ459Ζ. 21. π᥻᥻ρ੡ԿኟዚᏣΔߦዿ௑࣍‫س‬ছࠀ‫ګݙآ‬รԿኟ᜔ᢜΔऴࠩ 1977 ‫ࠡڣ‬ᙊᣧ‫׈װ‬৵Δ ለ១ฃऱ᜔ᢜթ๯ৈዿশΰFriedrich Cerha, 1926- α‫ݙ‬ᖞ‫಻چ‬ᕴΖ 22. ᄘުոΔ459Ζ 10.

(19) ёૈ‫܄‬Ƕ23 ࠡ‫܂‬੡ߓ٨‫׌‬ᆠऱ‫ז‬।‫܂‬঴Δ‫ܶץ‬πᙓྶ৉Ꮣ‫ڴ‬รԲᇆρ Ε੡ԼԶٙᑗᕴऱπᓤᓳ Լρ ΰPolyphonie X, 1950-1951α Δፖᠨᙓྶπ࿨ዌρ τԫυ Δࠌؒሼ౿‫ߓڇ‬٨ଃᑗ᧩෼ૹ ૞ऱ‫ۯچ‬Ζπ࿨ዌρτԫυ᥆࣍‫ݙ‬٤ߓ٨‫׌‬ᆠΚ24 լႛଃ೏Δ੷۟ழଖΕԺ৫Εଃ‫ۥ‬Δ ຟ‫ګ‬੡ؒሼ౿ඈ٨ऱ೶ᑇΖ ‫ڰ‬ཚ‫܂‬঴‫א‬ጥฬᑗ‫܂‬঴πֽհၺρΔ‫֗א‬Գᜢፖ৛փᑗ‫܂‬঴πྤ‫׌‬հዕρ੡‫ז‬।Ζ ‫ڼ‬Բଈ‫܂‬঴ऱዚဲΔԯࠐ۞၌෼ኔ‫׌‬ᆠᇣԳ୙ዿΰRené Char, 1907-1988αऱᇣ‫܂‬Ζۖ πྤ‫׌‬հዕρຝ։ආ‫ߓش‬٨‫׌‬ᆠऱ໌‫֫܂‬ऄΔ֘ਠԱࠐ۞ಃߦ௑Εᠿ‫ء‬ፖ‫ر‬٨౿࿛Գ ऱᐙ᥼Ζ πྤ‫׌‬հዕρਢ੡Ֆ‫܅‬ଃፖք‫ۯ‬ዝ৉୮ۖᐊΔ‫ط‬԰ଈ‫ڴ‬՗ࢬዌ‫ګ‬Ζք‫ۯ‬ዝ৉୮։ ܑዝ৉խଃ९ยΕ್ֵ֣ࣥྶΕᔼଃᥳྶΕ‫ؚ‬ᚰΕ‫הٳ‬Δፖխ༼ྶΖ٤‫ڴ‬ᇣ֮ԯࠐ۞ ୙ዿऱԿଈᇣ‫܂‬Δᑗ‫ڶࠠڴ‬ᐋ‫ࠀڻ‬༄᧤ᙀࢤΔ൫ዚဲለ੡ࢼွΖ‫ ࣍ڴڼ‬1955 ‫ڣ‬ଈዝ࣍ ֣࿆֣࿆‫੺׈‬ଃᑗᆏψഏᎾ෼‫ז‬ଃᑗ࠰ᄎωΰISCMαΔ‫ڴ‬९પ 35 ։ᤪΖ25 ۖᒳࠫ‫ٺڇ‬ ‫ڴ‬խլጐઌ‫ٵ‬Κ‫א‬խଃ९ยΕխ༼ྶΔፖ‫່הٳ‬੡ૹ૞Ι್ֵ֣ࣥྶፖᔼଃᥳྶ‫܂‬੡ ֭ᐶΙ٦‫ף‬Ղ‫ڍ‬ᑌऱ‫ؚ‬ᚰᑗᕴิΔࠌᖞ᧯‫ٽ‬৉‫ܧ‬෼ԫጟ࡛‫ݎ‬ऱଃ‫ۥ‬Ζ26 ఘ෩௲๏дᏢ ғ‫ޑ‬Ǵᆶ‫ځ‬ᇥࢂԾ‫ي‬॥਱‫מ‬ѯ୷ᘵǴॹόӵᇥࢂᡣдॺԾՉ‫ۯ‬՜‫ޑ‬Б‫ݤ‬Ǵ੝ձࢂ࿯ࠩǴ ‫׳‬ख़ा‫ࢂޑ‬٬Ҕ౦୯ॣ኷Ƕ27!ؒሼ౿࣍‫ڴ‬ଈᎅࣔ༼֗Δ࠹ࠩ᎛ࣟऱᐙ᥼Δ್ֵ֣ࣥྶ. 23. Joseph Machlis, 495.. 24. ߓ٨‫׌‬ᆠ‫ڶ‬ழਐጠԼԲଃ٨Δ‫ݙאڼڂ‬٤ߓ٨‫׌‬ᆠਐጠለᣤ௑ऱߓ٨‫׌‬ᆠΖ. 25. ᑰ઄ᚊΔ92Ζ. 26. Joseph Machlis, 356.. 27. Paul Griffiths, Modern Music: A Concise History from Debussy to Boulez, rev. ed. (New York: Thames and Hudson, 1994), 128. 11.

(20) ُॺ੊ᑗᕴΕᔼଃᥳྶُᶗߺ୾ᑗᕴΕ‫ءֲُהٳ‬ԼԿฬᑗᕴऱ‫ۥ‬ᖻΖ28 ۖ԰ଈ٥‫ٵ‬ ௽‫ܛۥ‬ਢլೖ‫ޓچ‬ངࣁᇆΔ‫ڴ܂‬୮ٍ࣍ᑗᢜՂᑑ‫ق‬Բ։ऄΰѪѫαፖԿ։ऄΰʳ αऱ ቹ‫ق‬Δ࿝ृංࡳፖࠡ‫ء‬Գ੡ਐཀ‫ڶ‬ᣂΙ‫ڼ‬؆Δؒሼ౿ࠀ‫آ‬ᇢቹ‫ش‬ଃᑗ᤭૪ዚဲრᆠΔ ᎁ੡ଃᑗᚨᇠਢᏺൎ֮‫ڗ‬ऱრᆠΔۖॺ၀֊ሓట‫װچ‬੡֮‫಻܂ڗ‬ᑗΖ29 1956 ‫ڣ‬৵Δؒሼ౿ၲࡨᆖൄආ‫ش‬ψᖲሎଃᑗωऱ֫ऄ໌‫܂‬Δ π࿨ዌρ τԲυ Ε੡Ֆ೏ ଃፖᑗቸ‫܂‬঴π‫ᦤމ‬ΘࠉᖕΘૹᦤρ Ε‫ط‬ԼԲଈᙓྶᗑ৉‫ૹڴ‬ᄅ‫ޏ‬ᐊ੡ጥฬᑗቸऱնଈ πಖᢜρ ΰNotations I-IV, VII; 1978- α੡‫ז‬।‫܂‬Ζࠡኙᖲሎଃᑗऱᖙ‫ڤֱ܂‬Δઌለ࣍ભ ഏऱપᘃΘ້ഗΰJohn Cage, 1912-1992αΔ᧩൓ለ੡෻ࢤΔࠏ‫ڇڕ‬π࿨ዌρτԲυխΔ ᙓྶԲႊ಻‫ٽ‬ᙓྶԫዝ৉Δ‫ط۞ڇ‬խฃ੡ૻࠫࠡ‫ױ‬౨ࢤΙࠀᑑࣔᅝᙓྶԫዝ৉ਬׂ੄ ழΔᙓྶԲऱ‫ױ‬౨ࢤΖ ‫ ڇ‬1975 ‫ڣ‬൷༳Աଃᑗፖᜢᖂ࠰ᓳઔߒխ֨Δၲࡨሽᜢଃᑗֱ૿ऱઔߒΔ‫ז‬।‫ڶ܂‬ πᚨ࿠‫ڴ‬ρΰRépons, 1980-1984αΖᇠ‫ڴ‬੡ք‫ۯ‬ᗑ৉୮Ε՛ীᑗቸΕሽᜢଃᑗࢬ໌‫܂‬Δ এ࿨‫ٽ‬ԫ౳ᑗᕴፖऄഏᅝழ່٣ၞऱଃᑗሽᆰຌ᧯ψ4Xωऱ‫܂‬঴Ζؒሼ౿૞‫ޣ‬ፘ‫؀‬੡ ९ֱ‫ݮ‬Δ֥؄‫ۯ‬ᑗቸዝ৉ृፖਐཀ‫ڇ‬խ؇ీ‫؀‬ՂΔᨠฒஂ‫ࠟ࣍ۯ‬ೡΔᑗቸీ‫؀‬ছਢԫ ຝψ4XωଃᑗሽᆰΔ‫ݾط‬๬Գ୉ᖙ൳Δࡌ໮։ᆜᤪྶΕᙓྶԫΕᙓྶԲΕᔼଃᥳྶΕ Օ᝶ྶፖᓻྶքႈᑗᕴΖքႈᑗᕴࡌ໮݁಻ໂཆᜢᕴΔ٣‫א‬ሽᆰᙕՀᗑ৉ऱዝ৉Δᆖ መψ4Xω‫ګٽ‬৵Δ٦‫ܛ‬ழյ೯ࠀ‫א‬ཆᜢᕴ࣋‫נ‬Δ‫ګݮ‬ᗑ৉ፖᑗቸհၴऱᚨ࿠ᣂএΖ30 ؒሼ౿ऱ‫܂‬঴๯ီ੡ψၞ۩խऱ‫܂‬঴ω ΰwork in progressα Δ31 ᆖൄଥ‫܂៱ޏ‬Δ‫ګ‬੡ ‫ޓ‬ՕীऱᒳࠫΔൕխ൶౉۞‫ݺ‬ऱ໌ᄅΖ‫ڕ‬Բଈ੡Ֆ೏ଃፖ‫ؚ‬ᚰऱ৛փᑗπ್ࢮભऱ‫ܛ‬. 28. ࣥ৸ߦΔ19Ζ. 29. Ibid., 125.. 30. ್堚Δ165Ζ. 31. G.W. Hopkins, 257. 12.

(21) ᘋᇣρΰImprovisations sur Mallarmé, 1957αΔᆖՕપ֓‫ڣ‬ऱຬᥛଥ‫ޏ‬Δ‫ګ‬੡π‫ᦤމ‬Θࠉ ᖕΘૹᦤρऱຝׂٝ੄Ιۖ੡Ֆ೏ଃፖᙓྶऱ‫܂‬঴π៖ढρΰDon, 1960αঞଥ‫ګޏ‬੡ π٠ߝρΰÉclat, 1965α ΙԾ‫ڕ‬ጥฬᑗ‫܂‬঴πૹᦤρΔឩ‫ޏך‬ᐊ‫ګ‬੡πଃীΘ‫ף‬଍ΘԿᆆ ᢴρΰFigures-Doubles-Prismes, 1963αΖ‫ڼ‬ጟല៱‫ֲ࣍܂‬৵‫࣍ش‬Օী‫܂‬঴ᅝխऱ‫܂‬ऄΔ ࣍Լ԰‫׈‬ધ‫ڴ܂‬୮ऱ‫܂‬঴խٍ᥆ൄߠΔࠏ‫ڕ‬င‫܄‬௽ΰFranz Schubert, 1828-1797α Ε್೬ ΰGustav Mahler, 1980-1911α Ιྥ֥࣍‫׈‬ધ壆‫ڴ܂ڍ‬୮խΔ‫ؒאۿ‬ሼ౿ኙ‫ڼ‬ለࠠࣔ᧩ೣ ‫ړ‬Δല៱‫ޗైڶ‬ᓿղኛᄅሎ‫ش‬Δၞۖທ༉ଃᑗ‫܂‬঴‫ڍףޓ‬ցۖ᠆༄ऱ૿ᎎΖ ࿝ृ‫א‬π੍ׄଃᑗᒵՂဲࠢρΰOxford Music Onlineα੡‫׌‬Δࠀ᎖‫א‬πଃᑗፖᜢᖂ ࠰ᓳઔߒխ֨ρΰIRCAMαጻీΔ32 ലؒሼ౿‫ז‬।‫܂‬঴ნᖞ‫ګ‬।௑Δᆜ࣍μॵᙕԫνΖ. 32. “Pierre Boulez’s Work by Date,” in IRCAM, http://brahms.ircam.fr/pierre-boulez#work_ by_date (accessed April 29, 2012). 13.

(22)

(23) รԿີ ߓ٨ଃᑗᄗ૪. รԫᆏ ߓ٨ଃᑗᄭದፖ࿇୶ ߓ٨ଃᑗএൕԼԲଃ٨ऱᄗ࢚ۖࠐΖԼԲଃ٨এലԫଡԶ৫փऱԼԲଡ‫ת‬ଃ‫אף‬ ඈ٨ΔլૻԶ৫Εٍ‫ٵױ‬ଃฆ‫ټ‬Ε‫ڇ‬ԼԲଡ‫ת‬ଃઃ‫נ‬෼հছլ൓ૹᓤΖ‫ܶץ‬؄ጟ‫ڤݮ‬Κ ଺‫ݮ‬ΰprime, ‫إ‬ൄႉ‫ݧ‬Δ១ᐊ PαΕಭ۩ΰretrograde, ছ৵ႉ‫ݧ‬ઌ֘Δ១ᐊ RαΕଙᐙ ΰinversion, ՂՀ۩ֱ‫ٻ‬ઌ֘Δ១ᐊ Iα Εಭ۩ଙᐙΰretrograde inversion, ছ৵ႉ‫ݧ‬ઌ֘ ‫׊‬ՂՀ۩ᣌଙΔ១ᐊ RIαΔࠀ᎖‫א‬ԼԲଡ‫ת‬ଃऱฝ‫ۯ‬ΰtransposition, ᖞ᧯ଃ೏Ղ֒‫ת‬ ଃαΔ٥‫ڶ‬؄ԼԶጟীኪΖ ‫׼‬ଃᑗऱ࿇୶ൕ‫ڰ‬ཚ֮ᢌ༚ᘋழཚऱᓳ‫ڤ‬ଃᑗΔ֣۟੖‫܌‬Ε‫ࠢײ‬Ε௡ደᑗ੔ऱᓳ ࢤଃᑗΙࠩԱ֥‫׈‬ધ‫ڰ‬ཚΔೈԱ޵࠷֮ᢌ༚ᘋऱᓳ‫܂ڤ‬੡ଃ೏ై‫ޗ‬ऱ‫ٱ‬ွᑗ੔Δፖૹ ᄅሎ‫ࠢײش‬Ε֣੖‫܌‬ழཚऱ‫ڤڴ‬ऱᄅ‫ࠢײ‬ᑗ੔‫א‬؆Δ‫ڰ‬ཚऱ।෼ᑗ੔ආ‫ྤط۞ش‬ᓳࢤ ऱ֫ऄၞ۩໌‫܂‬ΖԾҗคፓ‫ޑ܄‬բԔৎ೸ၸΜΒॣᆫӝᡏȐaggregateα!33!ᕇள΋٤ਏ ݀Ǵдॺዴߞ೯ၸΜΒঁॣભ‫ࢌޑ‬ᅿ੝ձ‫ޑ‬ൻᕉǴૈ୼നӳӦᕇளคፓ‫܄‬Ƕ34!ಃߦ௑ ‫إ‬ਢรԫ‫ۯ‬ല‫ڼ‬ԫუऄ‫ߓڶ‬อ‫چ‬ሎ‫܂໌ࠩش‬Ղऱ‫ڴ܂‬୮Κд‫ ܭ‬1921 ԃহϺബբಃ΋२ ΜΒॣբࠔǴനࡕԋࣁΑ‫ځ‬ȠᒳถಔԔբࠔЅϖဦȡȐPiano Suite Op. 25, 1921-1923ȑ ‫ޑ‬Ȥ߻ࠩԔȥȐȸPräludium, ȹ1921ȑǶ35! !. ࠃኔՂΔ჋ഏ‫ڴ܂‬୮Ε෻ᓵ୮ᎌዿΰJosef Matthias Hauer, 1883-1959αऱ੡ᜢᑗ. 33. ਐ‫ڶࢬܶץ‬ԼԲଡଃऱଃᣊႃΖ. 34. Stefan Kostka, Materials and Techniques of Twentieth-century Music, 3rd ed. (New Jersey: Prentice Hall, 2006), 198. 35. Ibid. 15.

(24) ፖᙓྶ‫ڴ‬π‫܂‬঴รԫᇆ۟รԼԶᇆρΰopp.1–18 , 1912-1919αΔ‫ءהڇ‬Գ‫᥽ڃ‬৵Δ۞ᎁ ੡ਢψԼԲଃଃᑗωऱၲጤΔࠠ۞‫׊ط‬ൎ௺᧢֏ଃऱ‫ۥ‬൑Ζྥথฃ౒֟ಃߦ௑Εᠿ‫ء‬Ε ߦዿ௑ߓอࢨ௑ߢ‫ڤ‬ଅ௑Δࠡ౒‫׎‬೯ᖲᇘ堸ऱയ৫ፖ壄᝷࿓৫Ζ36 ᎌዿࠀ࣍ 1919 ‫ڣ‬࿇ ෼ԼԲଃࡳ৳Δ‫ܛ‬ψᅝԼԲଡଃઃ‫נ‬෼հছլ൓ૹᓤٚ۶ଃω Ζ൫‫ה‬ऱԼԲଃଃᑗਢ৬ ‫ڇم‬ଃᣊႃՂΔࠀᆖൄ‫א‬Բኙքଃิΰhexachordα‫ܧ‬෼Δଃ೏ࠀॺట‫ڶإ‬ԫࡳऱ٣৵ ႉ‫ݧ‬Δ‫א‬෼վଃ٨ऱ෻ᓵࠐ઎Δଃ೏‫נ‬෼ऱ٣৵ႉ‫᧩ݧ‬൓ለ੡۞‫ࢨط‬ٚრΖ ࠡ৵‫א‬ಃߦ௑ፖ‫ה‬ऱᖂ‫س‬ѧѧᠿ‫ء‬Εߦዿ௑ѧѧ੡ଈΔၲࡨࠌ‫ش‬ԼԲଃ٨໌‫܂‬Δ ࠡ‫אה‬ଃ٨໌‫܂‬ထ‫ټ‬ऱ‫ڴ܂‬୮‫ڶ‬ΚᆠՕ‫ܓ‬ऱሒࢮ֐‫ࢮױ‬ΰLuigi Dallapiccola, 1904-1975α ፖભഏऱ‫܌‬ሼփ‫܌‬ΰErnst Krenek, 1900-1992α ΖྥۖΔ‫ࠌܛ‬ਢಃߦ௑Εᠿ‫ء‬Δፖߦዿ௑Δ ԿԳऱଃ٨֫ऄՈլ‫ݙ‬٤ઌ‫ٵ‬Ζʳ ʳ. ಃߦ௑ऱଃ٨ለ֟ᓳࢤऱ೶ᅃΔ37ʳ ‫א‬πᙓྶิ‫܂ڴ‬঴֥նᇆρऱଃ٨੡ࠏΔᔣ२. ऱଃ೏ࠡଃ࿓్ܑΰinterval classα‫א‬՛Բ৫ΰࢨՕԮ৫α Εፖ‫ݙ‬٤؄৫ΰࢨ‫ݙ‬٤ն৫α ዌ‫ګ‬ΔԿ৫ঞᙇᖗԱ՛Կ৫ΰࢨՕք৫α ΰ‫ڕ‬μ।3-1νࢬ‫ق‬α Ι‫ڼ‬؆Δ଺‫ݮ‬Εଙᐙऱ࿨ ‫ݠ‬ፖಭ۩Εಭ۩ଙᐙऱၲᙰ੷۟‫נ‬෼Ա֣᎒ΰB-A-C-Hαऱ೯ᖲΰ‫ڕ‬μᢜࠏ3-1νࢬ‫ق‬αΙ ‫ڼ‬؆Δಃߦ௑ٍ‫܂ࠡڇ‬঴πฬᑗ؄ૹ৉‫܂‬঴֓ԮρΰString Quartet Op. 37αऱรԿᑗີ ࿇෼Δԫଡଃิ‫۞طאױ‬ա‫א‬؆ऱࠡ،Կጟ‫ڤݮ‬ѧѧ଺‫ݮ‬Εಭ۩Εଙᐙࢨಭ۩ଙᐙѧ ѧ࿨‫ۖٽ‬ዌ‫ګ‬ፋ‫᧯ٽ‬Δጠ੡ᖑ‫ڶ‬࿨ᒴࢤΰcombinatorialityαऱ௽ᔆΔ38ʳ ٍ‫่ܛ‬ጔ‫܄‬ǾǾ ࢂҗ‫ঁٿ‬ᕵӛ่ӝ‫ޑ‬όӕॣӈ‫܌‬ᄬԋǶ‫ځ‬ϣ೽่ᄬӚԾӧϪϩԋ‫ঁٿ‬Ϥॣಔᄒࢤ‫׎‬Ԅ 36. Monika Lichtenfeld, “Hauer, Josef Matthias,” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/12544 (accessed April 8, 2012). 37. Stefan Kostka, 204.. 38. “A set that can be combined with transformations of itself to form the 12-note aggregate is said to possess the property of ‘combinatoriality.’” In John Roeder, “Set (ii),” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/25512 (accessed April 29, 2012). 16.

(25) ‫߻ޑ‬ගΠǴѬॺϐ໔ό໻ᗦ֖㰢ॣଯϣ৒)pitch class content*࣬ӕԶԛ‫ׇ࣬‬౦‫่ޑ‬ᄬ੝ ᗺǶ٠җԜӧᕵӛ่ӝ‫ޑ‬ᜢ߯ύǴԖᐒӦғԋрֹ᏾ΜΒॣॣӈཥ‫ޑ‬ᆫӝᡏǴ፟ϒॣ ӈ‫़ޑ‬ғᆶᘉ৖Ǵග‫ٮ‬Α΋ঁཥ‫ࠨޑ‬ᐒǶ39!‫ڼ‬ጟ࿨ᒴࢤ௽ᔆൄিऴሎ‫ش‬ΰ‫ڕ‬μ।3-2ν ࢬ‫ق‬αΔທ༉ࡐࡳऱԲଃิΰdyadαΖ‫ڼط‬ᎅࣔΔԼԲଃ٨ࡉᜢऱ‫ױ‬ቃཚࢤΔ‫ڴ܂‬୮࣍ ໌‫܂‬ԼԲଃ٨ழΔբലিऴऱ᜕‫ࡉٻ‬ᜢቃ٣৸‫ە‬Ζʳ μ। 3-1νಃߦ௑πᙓྶิ‫܂ڴ‬঴֥նᇆρଃ࿓్ܑʳ ଃ࿓్ܑʳ ଃ࿓ʳ ᑇ‫ؾ‬ʳ. IC1 ՛Բ৫ࢨʳ ՕԮ৫ʳ. IC2 ՕԲ৫ࢨ ՛Ԯ৫ʳ. IC3 ՛Կ৫ࢨ Օք৫ʳ. IC4 ՕԿ৫ࢨ ՛ք৫ʳ. IC5 ‫ݙ‬٤؄৫ ࢨն৫ʳ. IC6 ᏺ؄৫ࢨ ྇ն৫ʳ. 3. 1. 3. 0. 2. 2. ʳ μᢜࠏ 3-1νಃߦ௑πᙓྶิ‫܂ڴ‬঴֥նᇆρଃ٨ʳ ʳ P. ֣᎒ऱ೯ᖲ. ʳ R ʳ I ʳ RI. ʳ μ। 3-2νಃߦ௑πฬᑗ؄ૹ৉ร֓ԮᇆρรԿᑗີଃ٨࿨ዌΚ‫ط‬՛Բ৫ΕՕԲ৫Ε՛ Կ৫Δፖ‫ݙ‬٤؄৫հࡉᜢଃ࿓ዌ‫ګ‬ʳ ʳ. ᒳᇆ P0 I5 ʳ 39. 1 C F. 2 B F#. 3 G Bb. 4 Ab A. 5 Eb D. 6 Db E. 7 D Eb. 8 Bb G. 9 F# B. 10 F C. 11 E Db. 12 A Ab. ԲิԼԲଃፋ‫᧯ٽ‬. ᣤ壂ዊΔ τൕձْௌπնଈᙓྶ՛঴ρհ൶ߒࠐ઎ࠅ੊‫ڴ܂‬୮‫֏ֱ֮۫ڇ‬Հऱ໌‫נ܂‬ሁυ Δ. πᣂྀଃᑗᖂ‫ע‬ρΔรԼնཚΰ2011‫ڣ‬12ִαΚ89Ζ 17.

(26) ۟࣍ߦዿ௑Δд‫ע‬ፓ‫ޑ܄‬ाનᑼΕΜΒॣ‫ޑ‬ᇟ‫ݤ‬Ǵ٬ளдԋࣁૣ‫ن‬਱኷ࢴύന৒ ܰ೏ௗ‫ޑڙ‬΋ՏǶ40ʳ ࠏ‫ࠡڕ‬π՛༼ྶ࠰৉‫ڴ‬ρ ΰViolin Concerto, 1935αਢ‫א‬Կ৫ഔᦤ੡ ‫׌‬Δ‫ګݮױ‬؄ጟԿࡉฬΔ໢ᛀီছքଡଃΔᄆ‫ ق‬g ՛ᓳΔ଺‫່ݮ‬৵‫נ‬෼ԱԿ٤ଃΰ‫ڕ‬ μᢜࠏ 3-2νࢬ‫ق‬αΙԾฬᑗ؄ૹ৉π‫އ‬ൣิ‫ڴ‬ρΰLyrische Suite, 1926α੡٤ଃ࿓ଃ٨ ΰall-interval setα Δ‫ܛ‬ൕ՛Բ৫۟ᏺ؄৫ΔೈԱᏺ؄৫‫ڶ׽‬ԫิ؆Δࠡ،ᚨ‫ڶ‬ԲิΙೈ ‫ڼ‬հ؆Δ‫ױ‬ല‫ڼ‬ଃ٨։੡ԲଡքଃิΔ৵քଃิ੡ছքଃิಭ۩ࠀ࢓Ղᏺ؄৫Δ‫ڼڂ‬ յ੡૜‫س‬ଃ٨ΰderived setαΔߦዿ௑‫ޓ‬ၞԫ‫ޡ‬ലছ৵քଃิႉ‫ิૹݧ‬Δข‫س‬Բิଃၸ Ղ۩ፖն৫༛ᛩऱ‫ݮ‬ᎎΰ‫ڕ‬μᢜࠏ 3-3νࢬ‫ق‬αΖ41ʳ ʳ μᢜࠏ 3-2νߦዿ௑π՛༼ྶ࠰৉‫ڴ‬ρʳ. Կ٤ଃ. ᄆ‫ ق‬g ՛ᓳ. ʳ ʳ μᢜࠏ 3-3νߦዿ௑π‫އ‬ൣิ‫ڴ‬ρ٤ଃ࿓ଃ٨ʳ ૜‫س‬ଃ٨. m2 ଃၸՂ۩. M3. m3. M2. P4. A4. P4. M2. m3. M3. m2. ʳ. ʳ ն৫༛ᛩ. ʳ ! ‫ن‬ᅟ਱໒วૣ‫ن‬਱ၨߥӺ‫ޑ‬໺಍ाનǴ᚟ҁ߾ว৖‫ځ‬౛ፕύၨᐟ຾‫ޑ‬೽ϩǶ42 ‫׽‬ ‫ڶ‬ᠿ‫ݙء‬٤࣋ඵᓳࢤऱႚอΔࠀ‫ݙ‬٤ᝩ‫ޗ܍‬றऱૹᓤΔ‫ڕڶڼڂ‬௑ߢ౳ऱ壄១Κ‫ה‬ऱ 40. Joseph Machlis, 260.. 41. Robert P. Morgan, Twentieth-century Music: A History of Musical Style in Modern Europe and America (New York: W. W. Norton & Company, 1991), 215. 42. Joseph Machlis, 271. 18.

(27) ‫ګ‬ᑵཚ‫܂‬঴‫֓ڶ‬ԫଈΔ‫ױ‬٤ຝᙕ‫ڇ‬Կ് CD ׂᇙΖ43ʳ ࠡπٌ᥼‫܂ڴ‬঴֥ԫρ ΰSymphony Op. 21, 1929α੡؄ຝऱᠨ‫׬‬ል৉Ꮣ‫ڤڴ‬ΔፖรԫຝࡉรԿຝ‫ܧ‬෼‫׬‬ልऱਢรԲຝࡉร ؄ຝΙรԫຝፖร؄ຝආ‫ݮ଺ش‬ଃ٨ΔรԲຝፖรԿຝආ‫ش‬ଙᐙଃ٨ΰ‫ڕ‬μᢜࠏ 3-4ν ࢬ‫ق‬αΖྥ‫ޢ‬ଡᜢຝথലଃ٨ࣈᇞ۟լ‫ٵ‬ऱᑗᕴխዝ৉Δข‫س‬រ༴ΰpointillismα44ʳ ֗ ଃ‫ۥ‬ඝ৳ΰKlangfarbenmelodieα45ʳ ऱய࣠ΖೈԱආ‫ᝓاش‬ൄߠऱ൷‫ݠ‬ऄۭᜤլ‫ٵ‬ऱଃ ٨؆Δ46ʳ ‫ٺ‬ଃ೏ऱଃ഑‫قܧڇ‬ຝፖ٦෼ຝਢࡐࡳऱΔۖ‫ڇ‬࿇୶ຝऱຝ։ঞլࡐࡳΖʳ μᢜࠏ 3-4νᠿ‫ء‬πٌ᥼‫܂ڴ‬঴֥ԫρଃ٨ʳ รԫຝΰ଺‫ݮ‬α. ʳ รԲຝΰଙᐙα. ʳ รԿຝΰଙᐙα. ʳ ร؄ຝΰ଺‫ݮ‬α. ʳ ʳ. ʳ Բ‫ڻ‬Օᖏመ৵ऱԼ‫ڣ‬ΔԼԲଃ٨ऱ‫֫ڴ܂‬ऄႚᐾ‫ޓ‬ᐖΕ‫߰ޓ‬ຒΔ‫ڴ܂‬୮‫ڕ‬ભഏऱ. ֺ֣௽ΰMilton Babbitt, 1916-2011αΕᆠՕ‫ܓ‬ऱᘭᘭΰLuigi Nono, 1924-1990αΔፖᐚഏ ऱ‫܌ڮ׾‬ᎌཤΔઃቫᇢ‫א‬ԼԲଃ٨፿ऄ໌‫܂‬Ι‫ڼ‬؆Δཎ௽ࢮᄵཎഗ࣍ඡཚٍቫᇢ‫א‬Լ Բଃ٨፿ऄᐊ‫܂‬Ζ΢ॊ೭٤բԔৎ‫ޑ‬ബբᡉҢΑΜΒॣӈҁ‫ي‬٠ߚബբ‫سޑ‬಍Ǵ‫׳‬ό 43. Anton Webern, Anton Webern’s Complete Works, Sony NM3K 45 845, 1991.. 44. ଃᑗՂऱរ༴ਐऱਢ໢ԫᜢຝඝ৳ᒵයΔຘመଃ഑ऱሀ။ࢬທ‫ګ‬រणऱᜢ᥼Ζ࣍৛փᑗ ࢨጥฬᑗ‫ڴ‬ᇙΔٍ‫ױ‬ਐլ‫ٵ‬ᑗᕴࢬ‫ګݮ‬ऱរणᜢ᥼Ζ 45. ຘመլ‫ٵ‬ᑗᕴऱଃ‫ࢬۥ‬ዌ‫ګ‬ऱඝ৳Δଃ೏ለլੌ೯Δۖ‫א‬ଃ‫ۥ‬ऱੌ೯੡ᑗ‫ڴ‬ऱၲ୶Ζ‫ڇ‬ ጥฬᑗऄᇙΔរ༴‫ޓط៶ױ‬ངᑗᕴଃ‫ۥ‬Δ‫ګݮ‬ଃ‫ۥ‬ඝ৳ΖIn Samuel Adler, The Study of Orchestration, 3rd ed. (New York: W. W. Norton & Company, 2002), 607. 46. ᇠ‫܂‬঴խছԫଃ٨ऱ‫أ‬ԲଃፖՀԫଃ٨ऱছԲଃઌ‫ٵ‬Ζ 19.

(28) ࢂ΋ᅿ॥਱ǴҭόᔈຎΜΒॣӈॣ኷ࣁᆶፓ‫ॣ܄‬኷НОό৒ǴѬ໻໻࿶த٬Ҕ‫ߚܭ‬ፓ ‫ॣ܄‬኷Ǵԋࣁ೛ीॣଯ‫ޑ‬Б‫ݤ‬ϐ΋Ƕ47!! ԼԲଃ٨‫ڇ׽‬ଃ೏ֱ૿‫܂‬ඈ٨ΔࠩԱ֥‫׈‬ધնϤ‫זڣ‬Δ‫ڴ܂‬୮ٍലଃ೏ඈ٨࢏‫ۼ‬ ۟ࠡ،ଃᑗցైऱඈ٨Δ‫ڕ‬ழଖΕԺ৫Εଃ‫ۥ‬Δ੷۟ଃ഑࿛࿛Δ‫֮ڶ‬᣸‫ޓ‬ၞԫ‫ޡ‬ਐ‫נ‬ ԼԲଃ٨‫ڶ‬ழٍ๯ጠ੡ߓ٨ଃᑗΚࣁΑ୔ձ‫س‬ӈॣ኷ᆶԖਔΨ೏ᆀբ‫س‬ӈॣ኷‫ޑ‬ΜΒ ॣॣ኷ǴΓॺ೯தΨᆀ‫س‬ӈॣ኷ࣁȨ᏾ᡏ‫س‬ӈॣ኷ȩ‫܈‬Ȩӄय़‫س‬ӈॣ኷ȩ Ȑtotal serialismȑ Ƕ ΋૓ᇡࣁಃ΋२᏾ᡏ‫س‬ӈբࠔࣁఘ෩‫ޑ‬ȤਔॶᆶΚࡋ‫ޑ‬ኳԄȥ Ƕ48 ‫א‬Հᜰֺ֣௽ፖමྉ հߓ٨ଃᑗ‫܂‬঴੡ࠏΖ! ֺ֣௽੡ભഏߓ٨ଃᑗ‫ז‬।‫ڴ܂‬୮ΔࠡπԿଈᙓྶ‫ڴ‬ρ ΰThree Compositions for Piano, 1947αխऱรԫଈΔല؄ጟ‫ڤݮ‬ऱଃ٨Δჸ಻լ‫ٵ‬ऱᆏ৉ፖԺ৫ߓ٨ΰ‫ڕ‬μ। 3-3νࢬ ‫ق‬α Ζ‫ڼ‬๠ࢬጠऱψᆏ৉ωፖழଖฃ‫ڶ‬լ‫ٵ‬Δආ‫ش‬ऱਢ։ิऱᄗ࢚Δᔣ२ऱԲิᑇ‫ڗ‬ઌ ‫ף‬ઃ੡ 6Ι‫ڼ‬؆Δ଺‫ݮ‬ፖଙᐙΕಭ۩ፖಭ۩ଙᐙ‫ٵ‬ԫଡ‫ۯ‬ᆜऱᑇ‫ڗ‬ઌ‫ٍף‬੡ 6Ζʳ μ। 3-3νֺ֣௽πԿଈᙓྶ‫ڴ‬ρଃ٨ፖࢬኙᚨऱᆏ৉ΕԺ৫ߓ٨ ଃ٨. ᆏ৉ߓ٨. ։ิ. Ժ৫ߓ٨. P. 5142. mp. R. 2415. mf. I. 1524. f. RI. 4251. p. ʳ ‫ڴڼ‬ආ‫ش‬Բຝኙ‫ڤݮۯ‬ऱ៣᧯ΔലԶଡଃ٨։‫ګ‬؄ኙΔ‫ޢ‬ኙ੡Բ՛ᆏऱ९৫ΰ‫ڕ‬ μᢜࠏ 3-5νࢬ‫ق‬αΖ੡ԱࠌԼք։ଃฤข‫س‬९࿍հ։Εଃᑗ‫ڶ‬໙ஒհ๠Δ‫ิޢ‬ऱ‫أ‬ԫ ଃழଖ‫࢏אױ‬९ࢨ‫ף‬ԵַٖฤΖ۟࣍ᤛ᝶Δֺ֣௽ආ‫ش‬ለ੡۞‫ط‬ऱ֫ऄΖ‫࣍ڰڴڼ‬ම 47. Paul Griffiths, “Serialism,” in Grove Music Online, Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/25459 (accessed March 12, 2012). 48. ᝻՗ࣥΔ 175Ζ 20.

(29) ྉࠌ‫ߓش‬٨ଃᑗ֫ऄΔྥۖᅝழ‫ڇ‬ᑛ੊ࠀ‫ګݮآ‬չᏖᐙ᥼Ζ49ʳ μᢜࠏ 3-5νֺ֣௽πԿଈᙓྶ‫ڴ‬ρรԫଈร 1-8 ՛ᆏʳ P6. 1. 5. 4. 2. P0 5. 4. 1. ʳ 2. R0. ʳ. 2 1. 4. 5. 1. ʳ. 5 4. P0. 2. ʳ. 4 RI7. 5. 2. 1. I7. 1. 4. 2. 5. ʳ. ʳ I1. R6. 2. 1. 5. 2. 4. 1. 4. ʳ. 49. ᔤ૎௺Δπ‫ݧ‬٨ଃᑗᐊ‫܂‬ഗ៕ρ ΰՂ௧ΚՂ௧ଃᑗ‫נ‬ठषΔ1999α Δ138Ζ 21. 5. ʳ.

(30) ۖऄഏऱමྉ࣍τழଖፖԺ৫ऱᑓ‫ڤ‬υᑗᢜ‫ڴ‬ᇞ๠Δଈ٣๻ૠԼԲጟᤛ᝶ΰ‫ڕ‬μ। 3-4νࢬ‫ق‬αፖԮጟԺ৫ʻ‫ڕ‬μ। 3-5νࢬ‫ق‬α Ιࠀ๻ૠԿิழଖΔ։ܑ੡ 32 ։ଃฤΕ16 ։ଃฤΔፖ 8 ։ଃฤԫ۟ԼԲ଍ऱழଖΖ࣍ਢ‫ګݮ‬Կิଃ೏ჸ಻լ‫ٵ‬ऱᤛ᝶ፖԺ৫Δ ଃ೏။‫܅‬Δழଖ။९ΔԺ৫Ոࠥრ‫ڜ‬ඈ fff ፖૹଃΰ‫ڕ‬μᢜࠏ 3-6νࢬ‫ق‬αΖ μ। 3-4νමྉπ؄ଈᆏ৉ᒭ฾‫ڴ‬ρτழଖፖԺ৫ऱᑓ‫ڤ‬υԼԲጟᤛ᝶ʳ ᒳᇆ. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. ᤛ᝶ ုΚ‫ף‬Ղ‫إ‬ൄዝ৉Δ٥ԼԲጟᤛ᝶. μ। 3-5νමྉπ؄ଈᆏ৉ᒭ฾‫ڴ‬ρτழଖፖԺ৫ऱᑓ‫ڤ‬υԮጟԺ৫ʳ ᑑᇆ Ժ৫. 1 ppp. 2 pp. 3 p. 4 mf. 5 f. 6 ff. 7 fff. ! μᢜࠏ 3-6νමྉπ؄ଈᆏ৉ᒭ฾‫ڴ‬ρτழଖፖԺ৫ऱᑓ‫ڤ‬υԿຝߓ٨ʳ รԫຝΚᙓྶ೏ଃ഑. ʳ รԲຝΚᙓྶխଃ഑. ʳ รԿຝΚᙓྶ‫܅‬ଃ഑. ʳ ʳ. මྉႛ່ॣऱԫ۟Բ՛ᆏਊᅃଃ೏ႉ‫܂໌ݧ‬Δࠡ৵‫אܛ‬ለ۞‫ط‬ऱֱ‫ܧڤ‬෼Δլመ. ழଖΕԺ৫ፖᤛ᝶ٍᄎᇿထԿଡᜢຝऱଃ೏‫ࡳࡐڶ‬ऱኙᚨΰ‫ڕ‬μᢜࠏ 3-7νࢬ‫ق‬αΖʳ. 22.

(31) μᢜࠏ 3-7νමྉπ؄ଈᆏ৉ᒭ฾‫ڴ‬ρτழଖፖԺ৫ऱᑓ‫ڤ‬υร 1-3 ՛ᆏʳ. ʳ. รԲᆏ ߓ٨ଃᑗ፿ऄፖᑑ‫ق‬ᣊܑ ‫ڕ‬ছԫᆏࢬ૪ΔԼԲଃ٨‫ܶץ‬؄ጟ‫ڤݮ‬Κ଺‫ݮ‬Εಭ۩ΕଙᐙΔፖಭ۩ଙᐙΔࠀ᎖ ‫א‬ԼԲଡ‫ת‬ଃऱฝ‫ۯ‬Δ٥‫ڶ‬؄ԼԶጟীኪΖಃߦ௑ᎁ੡ຍ؄ԼԶጟীኪኔ᥆‫ٵ‬ԫଃ٨Ζ ࠡࠀྤᑑᄷऱ।‫ֱق‬ऄΔ‫܀‬ՕીՂຟ‫ א‬P ࢨ O ‫ז‬।଺‫ݮ‬ΕR ‫ז‬।ಭ۩ΕI ‫ז‬।ଙ ᐙΕRI ‫ז‬।ಭ۩ଙᐙΔ‫ء‬ᓵ֮‫ א‬P ࠐ।‫ݮ଺ق‬Ζ‫א‬Հᎅࣔ‫ڻءא‬ઔߒ‫׌‬ᠲխऱτ1aυ ੡ࠏΖ ႚอऱ।‫ֱق‬ऄΔ‫ڇ‬նᒵᢜՂಖᢜΔࠀ‫א‬รԫ‫נڻ‬෼ऱଃ٨‫ط‬รԫ۟ԼԲᇆଃ੡ P0ΔP0 ՂՀ۩ઌ֘Ε৫ᑇઌ‫ ګݮٵ‬I0Δല P0 ፖ I0 ‫ط‬รԼԲ۟ԫᇆଃऱႉ‫ݧ‬੡ R0 ፖ RI0Δ ۖ‫ګ‬੡ࠡรԫ۟ԼԲᇆଃΖ‫ ڼڂ‬P0 ፖ I0 ‫ڶ‬ઌ‫ٵ‬ऱದଃΔR0 ፖ RI0 ‫ڶ‬ઌ‫ٵ‬ऱದଃΔ‫ ܀‬P0 ፖ R0Εࢨ I0 ፖ RI0 ऱದଃլઌ‫ٵ‬ΰ‫ڕ‬μᢜࠏ 3-8νࢬ‫ق‬α Ζ‫ݮ଺א‬੡ࠏΔP0 ٤᧯࢓Ղԫ ଡ‫ת‬ଃ‫ ګܛ‬P1Ε࢓ՂԲଡ‫ת‬ଃ‫ ګܛ‬P2Δ٥‫࢓ױ‬ՂԼԫଡ‫ת‬ଃ۟ P11Δ࢓ՂԼԲଡ‫ת‬ଃ Ծ‫ࠩڃ‬Ա P0Ιಭ۩ΕଙᐙΔፖಭ۩ଙᐙ‫ڼא‬ᣊංΖ. 23.

(32) μᢜࠏ 3-8νؒሼ౿π࿨ዌρτ1aυଃ٨ႚอ।‫ֱق‬ऄ P0. R0. I0. RI0. ٍ‫شױ‬ఢೄ।‫ق‬Δ‫׽‬ႊᐊԫ‫ݮ଺ڻ‬Δ‫ٵױܛ‬ழ‫ࠡګݙ‬塒Կጟ‫ڤݮ‬Ζല P0 ऱଃ٨‫א‬ ଃ‫ټ‬ᐊ‫ڇ‬รԫ٨Δ‫ؐط‬รԫ۩‫ ګݙ‬P0 հଙᐙ I0Δࠀ࢏ထรԫ۩ऱଃ೏Δ‫່ؐא‬ೡऱଃ ੡ದଃΔࠉઌ‫ٵ‬ଃ࿓၏ᠦດԫ‫ ګݙ‬P ऱࠡ塒Լԫጟฝ‫ۯ‬Δ։ܑ੡ P1 ۟ P11Ι࢏ထรԫ ٨ऱଃ೏Δ‫່א‬Ղֱऱଃ੡ದଃΔࠉઌ‫ٵ‬ଃ࿓၏ᠦᐊՂ I1 ۟ I11Ιല P0 ‫ؐ۟׳ط‬ᛀီঞ ੡ R0Δല I0 ‫ط‬Հ۟Ղᛀီঞ੡ RI0Δࠡ塒ฝ‫ڼאۯ‬ᣊංΙ‫ڼڂ‬Δ؄ጟ‫ڤݮ‬հฝ‫ۯ‬Δࠡ ᑇ‫ڇڗ‬।௑Ղ‫ؘآ‬ႉ‫ٻ‬ΚP0 ದଃ੡ E ଃΔਚ P1 ದଃᚨ੡ F ଃΖ‫ګݙ‬৵‫ױ‬ຘመԲរࠐᛀ ᧭ਢ‫ڶܡ‬ᎄΚ‫ؐط‬Ղ۟‫׳‬Հऱኙߡᒵଃ೏ႊઌ‫ٵ‬Δ‫׳ط׊‬Ղ۟ؐՀऱᑇ‫ٽ᜔ڗ‬੡ԼԲΔ ೈԱ P0 ࡉ I0 รԫଃፖ R0 ࡉ RI0 รԫଃऱ᜔‫ٽ‬ઃ੡ሿΰ‫ڕ‬μ। 3-6νࢬ‫ق‬αΖ50ʳ. 50. Stefan Kostka, 201. 24.

(33) μ। 3-6νؒሼ౿π࿨ዌρτ1aυଃ٨ఢೄ।‫ֱق‬ऄ PШ 0 1 6 7 8 9 11 2 3 5 10 4 RIХ. 0 Eb E A Bb B C D F F# G# C# G 0. 11 D Eb Ab A Bb B C# E F G C F# 11. 6 A Bb Eb E F F# Ab B C D G C# 6. 5 Ab A D Eb E F G Bb B C# F# C 5. 4 G G# C# D Eb E F# A Bb C F B 4. 3 F# G C C# D Eb F G# A B E Bb 3. 1 E F Bb B C C# Eb F# G A D G# 1. 10 C# D G G# A Bb C Eb E F# B F 10. 9 C C# F# G Ab A B D Eb F Bb E 9. 7 Bb B E F F# G A C C# Eb G# D 7. 2 F F# B C C# D E G G# Bb Eb A 2. 8 B C F F# G Ab Bb C# D E A Eb 8. IЦ 0 1 6 7 8 9 11 2 3 5 10 4 ЧR. ုΚ‫ؐط‬Ղ۟‫׳‬Հऱኙߡ඙ᒵઃ੡ Eb ଃ P0 ፖ I0 ऱรԫଃፖ R0 ࡉ RI0 ऱรԫଃ᜔ࡉ੡ሿΰ‫ۥۊא‬ጻࢍᑑ‫ق‬α. ֥‫׈‬ધ壂ዿ௽ΰAllen Forte, 1926-α༼‫אנ‬ଃ‫ټ‬ΰpitch classα᠏ང‫ګ‬ᑇ‫ڗ‬ऱᄗ࢚Δ ‫ ط‬C ଃၲࡨऱଃ٨੡ଃ٨ 0Δྤᓵୌԫጟ‫ڤݮ‬Δࢨ‫ط‬ୌԫଡଃ٨‫ۯ‬ᆜၲࡨΔ‫ڼڂ‬รԫ ଃ٨լ੡ P0Δೈॺࠡದࡨଃ੡ C ଃΙ‫ڼط‬Δ‫ݺ‬ଚ‫ױ‬൓ࠩ‫׼‬ԫଃ٨ऱ।‫ق‬ऄΖ࿝ृආ‫ش‬ Աఢೄऱᑑ‫ڤֱق‬ΰ‫ڕ‬μ। 3-7νࢬ‫ق‬αΔլ‫࣍ٵ‬ছμ। 3-6νऱਢΚP0 ‫ ط‬C ଃၲࡨΔ ॺ‫ ط‬Eb ଃၲࡨΔR ፖ RI Ոፖႚอऱଃ٨ႉ‫ݧ‬լ‫ٵ‬Ζ. 25.

(34) μ। 3-7νؒሼ౿π࿨ዌρτ1aυଃ٨ଃ‫ټ‬।‫ֱق‬ऄ PШ 0 1 6 7 8 9 11 2 3 5 10 4 RIХ. 0 C C# F# G Ab A B D Eb F Bb E 4. 11 B C F F# G Ab Bb C# D E A Eb 3. 6 F# G C C# D Eb F G# A B E Bb 10. 5 F F# B C C# D E G G# Bb Eb A 9. 4 E F Bb B C C# Eb F# G A D G# 8. 3 Eb E A Bb B C D F F# G# C# G 7. 1 C# D G G# A Bb C Eb E F# B F 5. 10 Bb B E F F# G A C C# Eb G# D 2. 9 A Bb Eb E F F# Ab B C D G C# 1. 7 G G# C# D Eb E F# A Bb C F B 11. 2 D Eb Ab A C C# Eb E F G D F# 6. 8 Ab A D Eb E F G Bb B C# F# C 0. IЦ 8 9 2 3 4 5 7 10 11 1 6 0 ЧR. ழଖΕԺ৫Εᤛ᝶ֱ૿Δ‫ڴ܂‬୮‫ױ‬๻ૠ‫ݔ‬༛ᛩ๵৳Δࠏ‫ڕ‬ழଖ‫֓א‬Բ։ଃฤ੡ഗ ៕Δ‫ط‬รԫ۟ԼԲᇆழଖ։ܑ੡ࠡ଍ᑇΔۖԺ৫ፖᤛ᝶‫࣍ط‬ፖᑇ‫ྤڗ‬࿪ኙᣂএΔਚ‫܂‬ ‫ڴ‬୮‫ࠉױ‬ᅃଡԳೣ‫ړ‬๻ૠΖࠡ‫ױ‬ፖଃ೏೚࿨‫ٽ‬Δࠏ‫ࡳࡐڕ‬ଃ೏ࡨึࠌ‫ٵش‬ᑌऱழଖΕ Ժ৫ࢨᤛ᝶Ιٍ‫ױ‬ല؄ଡցై‫ݙ‬٤ᗑ‫م‬Δࠌ‫ش‬լ‫ٵ‬ऱߓ٨ীኪΔۖ।‫ֱق‬ऄٍᄎ‫࣍ط‬ ီ‫ڴ‬ଈԫၲࡨࢬࠌ‫ش‬ऱଃ٨‫ۯ‬ᆜ੡ P0Δࢨီ‫ א‬C ၲࡨऱଃ٨੡ P0 ۖጠࡅՂ‫ࢬڶ‬լ‫ٵ‬Ι ੷۟‫ٵױ‬ԫଃ٨ীኪ٤ࠌ‫ش‬ઌ‫ٵ‬ऱԫଡழଖΕԺ৫Δፖᤛ᝶ߓ٨ΔຍᎅࣔԱߓ٨ଃᑗ ࡸ‫ڶ‬ৰՕऱ࿇୶़ၴΔ‫א‬Ղႛᎅࣔለ੡ൄߠऱणउΔ‫ڶ‬ᣂ؄ଡցై‫ݙ‬٤ᗑ‫م‬ऱᒤࠏΔ ല࣍Հԫີᇡ‫ף‬ᎅࣔΖ. 26.

(35) ร؄ີ π࿨ዌρτԫυᑗ‫ڴ‬։࣫ʳ. รԫᆏ ໌‫܂‬હནፖᑗ‫ڴ‬ਮዌ π࿨ዌρ τԫυ٥‫ڶ‬ԿଡᑗີΔ։ܑ੡τ1aυ Ε τ1bυ Δፖτ1cυ Ζࠡխτ1aυ໌‫࣍܂‬ 1951 ‫ڣ‬Δࠀ࣍ 1952 ‫ ڣ‬5 ִ֣ᕟΔ‫ط‬මྉፖؒሼ౿ଈዝΙ1953 ‫ݙڣ‬ᖞዝ৉ԿଡᑗີΔ ‫ط‬ᆼߺᚈΰYvette Grimaudαፖᢅ๙ᑛΰYvonne Loriod, 1924-2010α51 ࣍ઝၼዝ‫נ‬Δࠀ ࣍ 1955 ‫נࡶڙطڣ‬ठषΰUniversal Editionα‫נ‬ठΖ٤‫ڴ‬ઃ‫ݙא‬٤ߓ٨֫ऄᐊ‫ګ‬Ζ ௅ᖕᐚഏᠨᙓྶዝ৉୮ൈჃཎഗ‫ݬכ‬ΰAloys Kontarsky, 1931- ; Alfons Kontarsky, 1932-2010α ࢬዝ৉ऱठ‫ء‬Δ52 Կଡᑗີ९৫‫ٺ‬੡ 3 ։ 36 ઞΕ8 ։ 43 ઞΔፖ 2 ։ 23 ઞΔ‫ٽ‬ૠ 14 ։ 42 ઞΖ‫ڶ‬ᣂኲ۟‫ؾ‬ছ੡ַΕբֆၲ࿇۩ऱπ࿨ዌρ τԫυհᙕଃठ‫ء‬Δ ᆖ࿝ृნᖞ৵ᇡ٨࣍μॵᙕԲνΖ. รԲᆏ τ1aυ ؒሼ౿ലමྉτழଖፖԺ৫ऱᑓ‫ڤ‬υհଃ೏ፖழଖ‫܂‬੡τ1aυߓ٨հ଺‫ݮ‬ΰ‫ڕ‬μᢜ ࠏ 4-1νࢬ‫ق‬α Δࠀආ‫ش‬මྉऱԼԲጟԺ৫ΰ‫ڕ‬μ। 4-1νࢬ‫ق‬αፖԼጟᤛ᝶ၞ۩ඈ٨ΰ‫ڕ‬ μ। 4-2νࢬ‫ق‬αΖ μᢜࠏ 4-1νؒሼ౿π࿨ዌρτ1aυଃ೏ፖழଖߓ٨հ଺‫ݮ‬Δᑇ‫זڗ‬।֓Բ։ଃฤհ଍ ᑇ. 51. ᢅ๙ᑛ੡මྉ֛ԳΔٍ੡֣ᕟ೏࿛ଃᑗೃಯٖᙓྶඒ඄Ζ. 52. Pierre Boulez, Structures pour deux pianos, Alfons Kontarsky and Aloys Kontarsky, WER 6011-2, CD, 1992. 27.

(36) μ। 4-1νؒሼ౿π࿨ዌρτ1aυԼԲጟԺ৫ ᒳᇆ. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. Ժ৫. pppp. ppp. pp. p. quasi p. mp. mf. quasi f. f. ff. fff. ffff. 9. 10. 11. 12. μ। 4-2νؒሼ౿π࿨ዌρτ1aυԼጟᤛ᝶ ᒳᇆ ᤛ᝶. 1. 2. 3. 4. 5. 6. 7. 8. normal. ုΚ‫ء‬ᑗີࡸ‫ ࠩشࠌآ‬4 ᇆፖ 10 ᇆᤛ᝶ΰ‫ۥۊא‬ጻࢍᑑ‫ق‬α Ζ. ‫ڼ‬ଃ٨ऱ௽‫ۥ‬੡ሎ‫ش‬Կ٤ଃፖԿଡຑᥛ՛Բ৫Δ‫ٵڕ‬ಃߦ௑πᙓྶิ‫܂ڴ‬঴֥ն ᇆρΔᔣ२ऱଃ೏ࠀ‫شࠌآ‬ՕԿ৫Ζ ‫֮ءڇ‬รԿີรԲᆏຝ։Δམ٨ᜰൄߠऱଃ٨ऱᑑ‫ق‬ᣊܑ‫ڶ‬Κႚอॺ࿪ኙଃ‫ټ‬ऱ ֱ‫ڤ‬Δٍ‫ڶ‬෼‫ז‬ආ࿪ኙଃ‫ټ‬ऱֱ‫ڤ‬ΙྥۖΔ࿝ृ‫ڇ‬ቫᇢ‫ڼ‬Բጟֱऄհ৵Δ࿇෼ࠡፖ‫܂‬ ঴‫܂໌ߪء‬࿨ዌࠀլԫીΔሑ༈‫ޓބ‬၀֊ऱᑑ‫ֱق‬ऄΔཚ౨ᨃଃ೏ΕழଖΕԺ৫Δ੷ ࢨᤛ᝶ΔࠡփຝऱᎲ൷ፖᣂᜤ‫᧤ࠠޓ‬ᙀࢤΖ ೶ᅃছμᢜࠏ 4-1νΔല଺‫ݮ‬հଃ೏ፖࠡழଖࡐࡳ৵᠏ང੡ᑇ‫ڗ‬Δ‫א‬รԫ٨࿛࣍ร ԫ۩‫ٺ‬ᑇ‫ڗ‬ऱֱ‫ڤ‬Δข‫ݮ଺س‬ፖಭ۩ఢೄΰ‫ڕ‬μ। 4-3νࢬ‫ق‬αΙ‫ڼ‬؆Δ‫࣍ط‬ჸ಻֓Բ ։ଃฤ଍ᑇऱᒴਚΔ‫ڼ‬๠ऱߓ٨ฝ‫ۯ‬ਢൕԫ۟ԼԲΔۖॺൕሿၲࡨΖ. 28.

(37) μ। 4-3νؒሼ౿π࿨ዌρτ1aυఢೄѧѧ଺‫ݮ‬ፖಭ۩ P1 P2 P3 P4 P5 P6 P7 P8 P9 P10 P11 P12. 1 2 3 4 5 6 7 8 9 10 11 12. 2 8 4 5 6 11 1 9 12 3 7 10. 3 4 1 2 8 9 10 5 6 7 12 11. 4 5 2 8 9 12 3 6 11 1 10 7. 5 6 8 9 12 10 4 11 7 2 3 1. 6 11 9 12 10 3 5 7 1 8 4 2. 7 1 10 3 4 5 11 2 8 12 6 9. 8 9 5 6 11 7 2 12 10 4 1 3. 9 12 6 11 7 1 8 10 3 5 2 4. 10 3 7 1 2 8 12 4 5 11 9 6. 11 7 12 10 3 4 6 1 2 9 5 8. 12 10 11 7 1 2 9 3 4 6 8 5. R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 R12. ૉല଺‫ݮ‬ଃ٨‫ޏ‬੡ଙᐙΔ‫ױ‬൓ࠩ‫׼‬ԫิᑇ‫ڗ‬ΰ‫ڕ‬μᢜࠏ 4-2νࢬ‫ق‬αΖ٦‫଺࣍ٵא‬ ‫ݮ‬ऱֱ‫ڤ‬Δข‫س‬ଙᐙፖಭ۩ଙᐙఢೄΰ‫ڕ‬μ। 4-4νࢬ‫ق‬αΖ μᢜࠏ 4-2νؒሼ౿π࿨ዌρτ1aυհଙᐙ. μ। 4-4νؒሼ౿π࿨ዌρτ1aυఢೄѧѧଙᐙፖಭ۩ଙᐙ I1 I7 I3 I10 I12 I9 I2 I11 I6 I4 I8 I5. 1 7 3 10 12 9 2 11 6 4 8 5. 7 11 10 12 9 8 1 6 5 3 2 4. 3 10 1 7 11 6 4 12 9 2 5 8. 10 12 7 11 6 5 3 9 8 1 4 2. 12 9 11 6 5 4 10 8 2 7 3 1. 9 8 6 5 4 3 12 2 1 11 10 7. 2 1 4 3 10 12 8 7 11 5 9 6. 11 6 12 9 8 2 7 5 4 10 1 3. 6 5 9 8 2 1 11 4 3 12 7 10. 4 3 2 1 7 11 5 10 12 8 6 9. 8 2 5 4 3 10 9 1 7 6 12 11. 5 4 8 2 1 7 6 3 10 9 11 12. RI1 RI7 RI3 RI10 RI12 RI9 RI2 RI11 RI6 RI4 RI8 RI5. ‫א‬Հലτ1aυհຒ৫Εଃ೏ΕழଖΕԺ৫Εᤛ᝶հሎ‫܂‬ნᖞ‫ڕ‬৵ΰ‫ڕ‬μ। 4-5νࢬ ‫ق‬αΖ 29.

(38) μ। 4-5νؒሼ౿π࿨ዌρτ1aυ‫ڤڴ‬ਮዌ। ੄ᆵ. ຒ৫. ՛ᆏ ΰ᜔ᑇα. ᙓྶ. ଃ೏. ழଖ. Ժ৫. Ժ৫ ᜔‫ٽ‬53. 1. Trés Modéré (F = 120). 1-7ΰ7α. I II. P1 I1 P7 P3 I2 I3 P10 P12 I4 I5 P9 P2 P11 I8 I7 I6 P6 I9 P4 P8 I11 I10 I12. RI5 R12 RI8 RI4 R11 R10 RI6 RI11 R9 R8 RI2 RI12 RI3 R5 R6 R7 RI10 R4 RI3 RI7 R2 R3 R1. 12 5. 17. P5. RI1. 12. RI5 RI8 RI4 R12 R11 RI6 R9 R10 RI2 RI11 R7 R8 RI9 RI8 R5 R6 RI10 R4 RI3 RI1 RI7 R2 R1 R3. I12 I11 I10 P5 P8 I9 P6 P4 I7 I8 P2 P11 I6 I5 P12 P9 I4 P10 I3 I1 I2 P7 P1 P9. 2 3 1 7 3 6 9 1 7 9 2 6 7 9 6 2 6 9 1 2 3 3 7 1. I 8-15ΰ8α. 2a. II Modéré, presque vif (F = 144) 16-23ΰ8α. 2b. 24-31ΰ8α. 2c. I II II I. Lent (Y = 120). 3. 32-39ΰ7α II 40-47ΰ8α. 4a. I II I. Modéré, presque vif (F = 144) 48-56ΰ9α. 4b. II Trés Modéré (F = 120). 5. 57-64ΰ8α. I I. Lent (Y = 120). 6. 65-72ΰ8α II I. 7. Modéré, presque vif (F = 144). 73-81ΰ9α. 8. Trés Modéré (F = 120). 82-89ΰ8α. II I II I. Trés Modéré (F = 120). 9. 90-97ΰ8α II. 10. Lent (Y = 120). 98-105 ΰ8α. Trés Modéré (F = 120). 106-115 ΰ10α. I II I. 11. II. 53. 7 9 2 11 8 8 5 5 11 8 11 11 10 8 7 7 2 2 5. 19 8. 51. 18. 23. 12. 16. 16. 24. 24. 15. 17. ᤛ᝶ 12 5 12 8 5 11 3 5 3 12 8 3 5 12 11 3 11 8 1 11 8 1 1 1 6 1 12 6 6 12 2 2 6 1 6 6 9 9 1 9 7 5 7 9 9 1 9 5. Dominique Jameux, Pierre Boulez, trans. Susan Bradshaw (Cambridge: Harvard University Press, 1991), 277. 30.

(39) τ1aυࠉࠡຒ৫᧢֏‫ױ‬։੡Լԫ՛੄Δྥ٤ᑗີႛ‫ڶ‬Կጟຒ৫Κઌᅝխ൉ऱຒ৫ ΰTrés Modéréα Ε࿑‫ݶ‬ऱխࣨΰModéré, presque vifα ΔፖᒷࣨΰLentα Δࠡඈ٨ࠠኙጠࢤΔ ‫ ܛ‬ABCBACBABCAΔรն੄ऱ Aΰ‫ࢍۊא‬ᑑ‫ق‬α੡Բ੄հኙጠૹᦤհ๠Ι‫ڕ‬༉ᦫᤚ Ղऱᜢຝ‫ڜ‬ඈፖై‫ޗ‬ऱሎ‫ش‬ΔԾ‫ױ‬։੡ԲՕ੄ΚรԫՕ੄‫ط‬รԫ۟ն՛੄Δۖรք۟ Լԫ՛੄ঞ᥆࣍รԲՕ੄Ζ ‫ط‬ছμ। 4-5νߩ‫ױ‬ᛀီ‫נ‬ΔԲՕ੄‫ڇ‬ᜢຝሎ‫૿ֱش‬෡ࠠኙֺࢤΔ່‫ڍ‬ᜢຝऱ੄ᆵ ੡รԿ՛੄ፖรԼԫ՛੄Δ٥‫ڶ‬քᜢຝΔรԫՕ੄ᜢຝയ৫᧢೯ለՕΔรԲ՛੄։੡ ԿຝٝΕร؄՛੄ঞ։੡ԲຝٝΖۖ໢ԫᙓྶ‫׊‬ႛࠌ‫ش‬ԫଡߓ٨ऱ໢ඝ৳੄ᆵΔ‫נ‬෼ ‫ڇ‬รԲ՛੄ऱรԿຝٝΕ‫֗א‬รն՛੄Δ։ܑ੡ᙓྶԲፖᙓྶԫዝ‫נ‬Δฃპᣊ‫ۿ‬ᆖመ ‫؁‬ΰtransitionα Ζรն՛੄ᙓྶԫऱ‫ۿ‬ᆖመ‫؁‬Δ࿨‫ޔ‬ԱรԫՕ੄Δࠀડ᧩ԱรԲՕ੄ऱ ದࡨΖ ‫ڇ‬ଃ೏ፖழଖֱ૿Δ༓‫شࠌ׏‬Ա٤ຝऱߓ٨ীኪΔ२؄ԼԶጟΔছμ। 4-5νխ‫ۊ‬ ࢍຝ։।‫ૹق‬ᓤࠌ‫ش‬ऱߓ٨Δທ‫ګ‬ਬ༓ଡߓ٨ࠀ‫נآ‬෼ΖรԫՕ੄ᙓྶԫऱଃ೏ߓ٨ ࠐ۞଺‫ݮ‬Δࠀຘመ I1 ऱᑇ‫ڗ‬ႉ‫ࡳެݧ‬հ৵ଃ೏ߓ٨ऱႉ‫ݧ‬Δࠡழଖࠐ۞ಭ۩ଙᐙΔ‫܀‬ ࠀ‫ شࠌآ‬RI9Δۖࠌ‫ش‬ԱԲ‫ ڻ‬RI3Δ࿝ृᎁ੡‫ױ‬౨ਢ࿝ᎄࢬીΙᙓྶԲऱଃ೏ߓ٨ࠐ۞ ଙᐙΔࠀຘመ P1 ެࡳհ৵ଃ೏ߓ٨ऱႉ‫ݧ‬Δࠡழଖࠐ۞ಭ۩Ζ รԲՕ੄ᙓྶԫऱଃ೏ਢಭ۩ଙᐙΔࠀຘመ R0 ऱᑇ‫ڗ‬ႉ‫ࡳެݧ‬հ৵ଃ೏ߓ٨ऱႉ ‫ݧ‬Δࠡழଖࠐ۞ଙᐙΔٍຘመ R1 ऱᑇ‫ڗ‬ႉ‫ࡳެݧ‬հ৵ழଖߓ٨ऱႉ‫ݧ‬ΙᙓྶԲऱଃ೏ ߓ٨ਢಭ۩Δࠀຘመ RI1 ެࡳհ৵ऱଃ೏ߓ٨ႉ‫ݧ‬Δࠡழଖࠐ۞଺‫ݮ‬Δٍຘመ RI1 ެࡳ հ৵ऱழଖߓ٨ႉ‫ݧ‬ΖૉሖַٖฤΔսലࠡጩၞছԫଡଃฤऱழଖ९৫ᇙΖ ࠡխΔร 33 ՛ᆏᙓྶԲऱ‫ڶ‬Բଡߓ٨ীኪ٥‫ش‬ԫଡଃऱൣउΙ‫ڇ֗א‬ร 93-94 ՛ ᆏᙓྶԫ‫֫׳‬ऱழଖ‫ڶ‬ຝ։ፖߓ٨ๅᠦΔᇠߓ٨৾੡ร԰੄ΰร 90-97 ՛ᆏα Δழଖߓ. 31.

(40) ٨ᚨ੡ I2Κ6-5-9-8-2-1-11-4-3-12-7-10Δؒሼ౿‫ޓ‬೯Ա 11 ፖ 4 ऱழଖ‫ګ‬੡ 9 ፖ 6Δທ‫ګ‬ 9 ፖ 6 ‫ڇ‬ᇠߓ٨ীኪխ‫נ‬෼Բ‫ڻ‬ΖԜਔॶ‫ٯޑ‬Ѧ‫܈‬೚ӧ่ᄬ΢ࣁѸा‫ޑ‬Ǵ‫ځ܈‬ӧ౛‫܄‬ ‫ޑ‬ጄൎϣᄬԋό౛‫߄ޑ܄‬௃ӢનǶόፕࢂব΋ᅿ௃‫ݩ‬Ǵ‫ࣁࣣځ‬ӧॣଯᆶ࿯ࠩύ‫ٯޑ‬ѦǴ Ъ൳ЯࢂȨᒿᐒ‫ޑ‬ȩǶ54 Ժ৫ֱ૿Δؒሼ౿ࠀ‫ڇآ‬໢ԫଃ೏๻ૠࡐࡳऱԺ৫ΔۖਢലԺ৫ီ੡‫ٺ‬ᜢຝࢨ‫ٺ‬ ߓ٨ऱ೴։Δ‫ޢ‬ଡߓ٨ࠌ‫ش‬լ‫ٵ‬ऱԺ৫Δ‫׊‬ኙֺ੷ሰΚឈྥઃ੡քଡᜢຝΔྥรԼԫ ՛੄থ᎛᎛լ֗٤ᑗີ່ൎऱ੄ᆵѧѧ‫ܛ‬รԿ՛੄Ιรն՛੄‫ڶ׽‬ԫᜢຝΔথᙇ‫່ش‬ ൎऱԺ৫‫ؓޣא‬ᘝΔନ‫ᦫڇ࣍ܓ‬ᤚՂߩ‫ࣔޓא‬ᒔ᧩‫੄ق‬ᆵऱ࿨‫ޔ‬Ζ‫׼‬ᙓྶԫආ‫ݮ଺ش‬ ఢೄΔࠡኙߡᒵፖԲٌՐ඙ᒵࢬ‫ګݮ‬ऱߓ٨ΰ‫ڕ‬μ। 4-6νࢬ‫ق‬αΔലᑇ‫ڗ‬᠏ང‫ګ‬ኔᎾ Ժ৫ΰ‫ڕ‬μ। 4-7νࢬ‫ق‬α ΙᙓྶԲආ‫ش‬ଙᐙఢೄΔֱऄ‫ٵ‬ᙓྶԫΰ‫ڕ‬μ। 4-8νࢬ‫ق‬αΔ ലᑇ‫ڗ‬᠏ང‫ګ‬ኔᎾԺ৫ΰ‫ڕ‬μ। 4-9νࢬ‫ق‬αΖ μ। 4-6νؒሼ౿π࿨ዌρτ1aυᙓྶԫԺ৫ࠐᄭ. 3 ϭ. 1 2 3 4 5 6 7 8 9 10 11 12. 2 8 4 5 6 11 1 9 12 3 7 10. 3 4 1 2 8 9 10 5 6 7 12 11. 4 5 2 8 9 12 3 6 11 1 10 7. 5 6 8 9 12 10 4 11 7 2 3 1. 6 11 9 12 10 3 5 7 1 8 4 2. 7 1 10 3 4 5 11 2 8 12 6 9. 8 9 5 6 11 7 2 12 10 4 1 3. 9 12 6 11 7 1 8 10 3 5 2 4. 10 3 7 1 2 8 12 4 5 11 9 6. 11 7 12 10 3 4 6 1 2 9 5 8. 12 10 11 7 1 2 9 3 4 6 8 5. 1 ϭ. ုΚ11 ᇆԺ৫ΰ‫ۥۊא‬ጻࢍᑑ‫ق‬α‫ڇ‬ᢜՂᓳᖞ੡ 10 ᇆΔ।௑؆໮ऱֱ௃‫ז‬।ᒢᙰऱ٣৵ႉ‫ݧ‬. 54. Lynden Deyoung, “Pitch Order and Duration Order in Boulez’ Structure Ia,” Perspectives of New Music, no. 16 (Spring – Summer, 1978): 34. 32. 2 ϭ.

(41) μ। 4-7νؒሼ౿π࿨ዌρτ1aυᙓྶԫኔᎾԺ৫ ᒳᇆ. 12. 7. 7. 11. 11. Ժ৫. ffff. mf. mf. fff. fff. ᒳᇆ Ժ৫. 2 ppp. 3 pp. 1 pppp. 6 mp. 9 f. 5 quasi p 7 mf. 5 quasi p 7 mf. 11. 10. 7. 7. 12. fff. ff. mf. mf. ffff. 9 f. 6 mp. 1 pppp. 3 pp. 2 ppp. μ। 4-8νؒሼ౿π࿨ዌρτ1aυᙓྶԲԺ৫ࠐᄭ. 3 ϭ. 1 7 3 10 12 9 2 11 6 4 8 5. 7 11 10 12 9 8 1 6 5 3 2 4. 3 10 1 7 11 6 4 12 9 2 5 8. 10 12 7 11 6 5 3 9 8 1 4 2. 12 9 11 6 5 4 10 8 2 7 3 1. 9 8 6 5 4 3 12 2 1 11 10 7. 2 1 4 3 10 12 8 7 11 5 9 6. 11 6 12 9 8 2 7 5 4 10 1 3. 6 5 9 8 2 1 11 4 3 12 7 10. 4 3 2 1 7 11 5 10 12 8 6 9. 8 2 5 4 3 10 9 1 7 6 12 11. 5 4 8 2 1 7 6 3 10 9 11 12. 1 ϭ. μ। 4-9νؒሼ౿π࿨ዌρτ1aυᙓྶԲኔᎾԺ৫ ᒳ ᇆ Ժ ৫ ᒳ ᇆ Ժ ৫. 5. 2. 2. 8. quasi p. ppp. ppp. 7. 3. 1. 9. mf. pp. pppp. f. 8. 12. 12. 8. 8. 2. 2. 5. ffff. ffff. quasi f. quasi f. ppp. ppp. quasi p. 6. 2. 2. 6. 9. 1. 3. 7. mp. ppp. ppp. mp. f. pppp. pp. mf. quasi quasi f f. ᤛ᝶ֱ૿Δආ‫׼ش‬ԫᢰऱኙߡᒵፖٌࠡՐऱԲ඙ᒵΔᙓྶԫආ‫ش‬ଙᐙఢೄΔᙓྶ Բආ‫ݮ଺ش‬ఢೄΰ‫ڕ‬μ। 4-10ν۟μ। 4-13νࢬ‫ق‬αΖ. 33. 2 ϭ.

(42) μ। 4-10νؒሼ౿π࿨ዌρτ1aυᙓྶԫᤛ᝶ࠐᄭ 3 ϭ 1 7 3 10 12 9 2 7 11 10 12 9 8 1 3 10 1 7 11 6 4 10 12 7 11 6 5 3 12 9 11 6 5 4 10 9 8 6 5 4 3 12 2 1 4 3 10 12 8 11 6 12 9 8 2 7 6 5 9 8 2 1 11 4 3 2 1 7 11 5 8 2 5 4 3 10 9 5 4 8 2 1 7 6 2 ϭ. 11 6 12 9 8 2 7 5 4 10 1 3. 6 5 9 8 2 1 11 4 3 12 7 10. 4 3 2 1 7 11 5 10 12 8 6 9. 8 2 5 4 3 10 9 1 7 6 12 11. 5 4 8 2 1 7 6 3 10 9 11 12 1 ϭ. μ। 4-11νؒሼ౿π࿨ዌρ τ1aυᙓྶԫኔᎾᤛ᝶ ᒳᇆ ᤛ᝶ ᒳᇆ ᤛ᝶. 12. 12. 8. 3. 6. 1. 12. 12. 5 normal 1. 8. 3. 6. 9. μ। 4-12νؒሼ౿π࿨ዌρτ1aυᙓྶԲᤛ᝶ࠐᄭ 3 ϭ 1 2 3 4 5 6 7 2 8 4 5 6 11 1 3 4 1 2 8 9 10 4 5 2 8 9 12 3 5 6 8 9 12 10 4 6 11 9 12 10 3 5 7 1 10 3 4 5 11 8 9 5 6 11 7 2 9 12 6 11 7 1 8 10 3 7 1 2 8 12 11 7 12 10 3 4 6 12 10 11 7 1 2 9 2 ϭ. 5 normal 9. 8 9 5 6 11 7 2 12 10 4 1 3. 9 12 6 11 7 1 8 10 3 5 2 4. 11. 1. 11. 1. 7. 7. 9. 9. 10 3 7 1 2 8 12 4 5 11 9 6. 11 7 12 10 3 4 6 1 2 9 5 8. 12 10 11 7 1 2 9 3 4 6 8 5 1 ϭ. μ। 4-13νؒሼ౿π࿨ዌρτ1aυᙓྶԲኔᎾᤛ᝶ ᒳᇆ ᤛ᝶ ᒳᇆ ᤛ᝶. 5 normal 9. 5 normal 1. 11. 3. 12. 11. 3. 12. 8. 1. 8. 1. 5 normal. 5 normal. 1. 9. 6. 6. 2. 2. 6. 6. 34.

(43) ؒሼ౿‫᧤ڶ‬ᙀ‫چ‬೏৫൳ࠫፖ‫ڜ‬ඈ‫ޢ‬ԫิߓ٨ऱ٣৵ႉ‫ݧ‬Δឈྥ‫ڶ‬༓๠ለլԫીΔ ‫ࢨ܀‬๺‫ڴ܂ڶ‬୮௽ܑऱ‫ش‬რΖଃ഑ઌᅝᐈᐖΔ‫ࠌܛ‬ਢ‫ٵ‬ԫዝ৉ृΔࠡ‫܅‬ଃᜢຝࢬ‫נ‬෼ ऱଃΔٍᆖൄ೏࣍೏ଃᜢຝࢬ‫נ‬෼ऱଃΔ‫ܛ‬ᜢຝٌ။Δ֘հٍྥΖࣁᇆೈԱႊฤ‫ٽ‬໢ ԫߓ٨ԮԼԶଡ֓Բ։ଃฤ؆Δ‫ߠآ׏ۿ‬ԫࡳ๵ঞΖ ‫࣍ط‬ଃ೏ፖழଖऱլຑ຃Δࠌ‫ٺ‬ଃհၴፖ‫ٺ‬ழଖհၴऱଃ᥼Δ‫ګ‬੡լ࣐ຑ࿨ऱ᙮ ෷ፖழၴΙԺ৫ፖᤛ᝶ঞፂ਍լ᧢Δऴ۟ᄅऱଃ٨ীኪ‫נ‬෼Ζ55 ‫א‬τ1aυร 1-7 ՛ᆏ ੡ࠏΚᙓྶԫଃ೏੡ P1Δழଖ੡ RI5ΔԺ৫ᒳᇆ 12 ࢬ‫ז‬।ऱ ffffΔᤛ᝶ᒳᇆ 12 ࢬ‫ז‬। ऱႽᄶ৉ΙᙓྶԲଃ೏੡ I1Δழଖ੡ RI2ΔԺ৫੡ 5 ࢬ‫ז‬।ऱ quasi pΔᤛ᝶ᒳᇆ 5 ࢬ‫ז‬ ।ऱ‫إ‬ൄዝ৉Ζࣁᇆ᧢ངԱն‫ڻ‬ΔՕຝ։‫א‬Զ։ଃฤ੡໢‫ۯ‬Δႛ‫ڶ‬ԫ՛ᆏ‫א‬Լք։ଃ ฤ੡໢‫ۯ‬Ι‫࣍ط܀‬ሀ՛ᆏ๠ൄ‫ڶ‬ຑ࿨ᒵΔਚ՛ᆏᒵ༓२‫ژټ‬ኔՋΖଃ഑ൕ່‫܅‬ऱ Bb ଃ ່۟೏ऱ૾ E ଃΔ٥‫ڶ‬քଡԶ৫‫ף‬Ղ‫ݙ‬٤؄৫ΔࠡխᙓྶԫΕᙓྶԲᆖൄ‫ڶ‬ઌ‫ٵ‬ଃ೏ ‫ٵڇ‬ԫଃ഑‫ۯ‬ᆜऱൣउΰ‫ڕ‬μᢜࠏ 4-3νࢬ‫ق‬αΖழଖֱ૿Δᢜࠏխऱᑇ‫ڗ‬ঞ।‫֓ق‬Բ ։ଃฤऱ᜔ᑇΖ ᜔ᨠτ1aυ ΔೲࡋவӼᛙ‫ډ‬ᐟ୏ǹΚࡋୃӛ‫ܭ‬১ȐpȑሦୱύǴԶԖᡯமॣ‫ޑ‬ଆ‫ۈ‬ǹ ஏࡋև౜೸ܴॣៜΖ56. 55. Martin Cooper, ed., The Modern Age (1890-1960), vol. 10 of The New Oxford History of Music (London: Oxford University Press, 1998), 446. 56. ᑰ઄ᚊΔ89Ζ 35.

(44) μᢜࠏ 4-3νؒሼ౿π࿨ዌρτ1aυร 1-7 ՛ᆏ. 36.

(45) รԿᆏ τ1bυ τ1bυࠉᅃຒ৫ᑑ‫ق‬Δ‫ױ‬։੡Լଡ੄ᆵΖ‫ڼ‬ᑗີ‫ូױ‬੡ᔚඝ‫ڤڴ‬Δ‫ڶ‬Կ‫ڻ‬ᒷࣨΖ ٌࠡᙑᆏ৉ऱຑଃ‫֗א‬ଃ഑ઌᅝᐈᐖΔ‫ף‬Ղࠡຒ৫Δ‫ח‬Գუࠩؒሼ౿π৉Ꮣ‫ڴ‬รԲᇆρ ऱኬࣨᑗີΖ57 ‫ࠢײٵڕ‬ழཚ৉Ꮣ‫ڴ‬ኬࣨᑗີԫ౳Δփܶ๺‫ڍ‬ለ՛ழଖऱଃฤΔτ1bυ ‫ڇ‬ᒷࣨհ๠ΔՈࠌ‫ش‬Ա 32 ։ଃฤΕ64 ։ଃฤΔࢨ੷۟ 128 ։ଃฤΔທ༉ឈ੡ᒷࣨΔ ᦫᤚՂথტֺࠩࠡ،੄ᆵᝫࠐ൓‫ݶ‬ຒΔ࣍รն੄ፖรԮ੄֠੡᧩ထΙઌ֘‫چ‬Δ࣍รԲ ੄Εรք੄ΔፖรԼ੄Δឈ᥆‫ࣨݶ‬Δ‫࣍ط܀‬ଃฤழଖ੷९Δ֘ଙࠌᦫᤚՂข‫س‬ᒷኬऱ ტᤚΖ ‫ڼ‬ᑗີࠌ‫ش‬ለ۞‫ط‬ऱߓ٨֫ऄΖଃ٨ֱ૿ΔೈԱፖτ1aυઌ‫ٵ‬ऱଃ٨؆Δ‫ڶ׼‬ല รԫ۟Ԯଃ᧢‫ګ‬รԮ۟ԫଃऱ૜‫س‬ଃ٨Ζᑗ‫ڴ‬ၲࡨᙓྶԫଃ೏ࠐ۞ছ૪ऱ૜‫س‬ଃ٨Κ ছնଡଃࠐ۞ R5 ऱԫ۟նᇆଃΔ৵Ԯଡଃࠐ۞ I5 ऱԫ۟Ԯᇆଃΰ‫ڕ‬μᢜࠏ 4-4νࢬ‫ق‬α Ι ᙓྶԲঞࠐ۞ P2ΰ‫ڕ‬μᢜࠏ 4-5νࢬ‫ق‬αΖ μᢜࠏ 4-4νؒሼ౿π࿨ዌρτ1bυ‫ڴ‬ଈᙓྶԫࢬࠌ‫ش‬հଃ٨. μᢜࠏ 4-5νؒሼ౿π࿨ዌρτ1bυ‫ڴ‬ଈᙓྶԲࢬࠌ‫ش‬հଃ٨. լ‫࣍ٵ‬รԫᑗີհଃ٨ࠌ‫ش‬Κᙓྶԫႛࠌ‫ݮ଺ش‬ፖಭ۩ଙᐙΔᙓྶԲ‫شࠌ׽‬ଙᐙ ፖಭ۩ΙรԲᑗີլᓵਢᙓྶԫࢨᙓྶԲઃࠌ‫ش‬Աଃ٨ऱ؄ጟ‫ڤݮ‬Δ‫א‬Հല૜‫س‬ଃ٨ ‫א‬ఢೄֱ‫ܧڤ‬෼Δࠀ‫ א‬P’ΕR’ΕI’Δፖ R’।‫ق‬հΰ‫ڕ‬μ। 4-14ν Εμ। 4-15νࢬ‫ق‬Δ଺. 57. Dominique Jameux, 283. 37.