作曲 در ۳۰ ثانیه
- The act of creating music.
- Used when someone writes original songs or pieces.
- The creative process behind melodies and harmonies.
- Also referred to as composing music.
The Japanese word 作曲 (さっきょく - sakkyoku) refers to the act of composing music. It's the process of creating an original piece of music, from melodies and harmonies to rhythms and song structures. This term is used in various contexts related to music creation, whether it's for professional musicians, hobbyists, or even in academic settings discussing musical arts.
Think of it as the creative endeavor behind every song you hear, from classical symphonies to modern pop hits. When someone writes new music, they are engaging in 作曲. It implies a deliberate and artistic process of bringing musical ideas to life.
- Etymology
- The word is a compound of two kanji: 作 (saku), meaning 'to make' or 'to create', and 曲 (kyoku), meaning 'song' or 'music'. Together, they literally mean 'to make music'.
彼は新しい曲の作曲を始めました。
- Usage Contexts
- You'll encounter 作曲 when discussing:
- The work of musicians and composers.
- Music classes or lessons.
- The creative process behind songs, soundtracks, or jingles.
- Awards or recognition for musical creation.
作曲 (さっきょく - sakkyoku) functions as a noun in Japanese, representing the act or process of creating music. It can be used in various grammatical structures, often following particles or being the object of verbs.
One common pattern is to use it with the verb する (suru), meaning 'to do' or 'to make'. So, 作曲する (sakkyoku suru) means 'to compose music'. This verb form is very versatile.
- Subject of a Sentence
- The act of composition itself can be the subject. For example, 作曲は難しいです (Sakkyoku wa muzukashii desu) - 'Composing music is difficult.' Here, 作曲 is the topic.
その映画の音楽の作曲は有名な人が担当しました。
- Object of a Verb
- It can be the direct object of verbs like 'to do', 'to start', 'to finish', etc. For instance, 彼は作曲を始めました (Kare wa sakkyoku o hajimemashita) - 'He started composing.' The particle を (o) marks 作曲 as the object.
- Part of a Compound Noun
- It can combine with other words to form more specific terms. For example, 作曲家 (sakkyokuka) means 'composer', literally 'composition person'.
You'll hear the word 作曲 (さっきょく - sakkyoku) in many places related to music in Japan. It's a fundamental term for anyone involved in or discussing music creation.
Music Schools and Universities: In music education, 作曲 departments and classes are common. Students learn the theory and practice of creating music, and professors are often referred to as 作曲家 (sakkyokuka - composer).
- Concerts and Performances
- Program notes for concerts often mention the 作曲 of the pieces being performed. For example, 「この曲の作曲はモーツァルトです。」(Kono kyoku no sakkyoku wa Mozart desu.) - 'The composer of this piece is Mozart.' (Though here 'composer' is implied, the word 作曲 is central to the idea).
新しいアニメのテーマ曲の作曲に挑戦しました。
- Media and Entertainment
- In discussions about films, TV shows, or video games, the 作曲 for their soundtracks is frequently mentioned. You might hear: 「このゲームの音楽作曲は誰がしましたか？」(Kono gēmu no ongaku sakkyoku wa dare ga shimashita ka?) - 'Who did the music composition for this game?'
- Interviews with Musicians
- When musicians talk about their creative process, they often use 作曲 to describe how they write their songs.
While 作曲 (さっきょく - sakkyoku) is a straightforward term for music composition, learners might make a few common errors, especially when trying to distinguish it from related concepts or use it in complex sentences.
Mistake 1: Confusing Composition with Performance or Arrangement. 作曲 specifically refers to the *creation* of the original music. It doesn't mean playing the music (演奏 - ensō) or adapting it for different instruments or voices (編曲 - henkyoku).
- Incorrect Usage Example
- 「この曲の作曲はとても難しい。」(This sentence is correct if they mean the difficulty of *creating* the music. However, if they are trying to say the difficulty of *performing* it, it would be wrong.)
彼は歌の作曲をした。
- Corrected Example (for performance)
- 「この曲の演奏はとても難しい。」(Kono kyoku no ensō wa totemo muzukashii.) - 'The performance of this song is very difficult.'
- Mistake 2: Overusing it with Lyric Writing.
- 作曲 is solely for music. If lyrics are involved, the term 作詞・作曲 (sakushi sakkyoku) is used, meaning 'lyric writing and composition'. Using just 作曲 when lyrics are also a significant part of the creation might be incomplete.
- Mistake 3: Grammatical Errors with する.
- While 作曲する (sakkyoku suru) is correct, learners might incorrectly conjugate it or omit the する when it's needed to form the verb. For instance, saying 「私は作曲です。」(Watashi wa sakkyoku desu.) meaning 'I am composing' is incorrect; it should be 「私は作曲しています。」(Watashi wa sakkyoku shite imasu.) or 「私は作曲をします。」(Watashi wa sakkyoku o shimasu.)
While 作曲 (さっきょく - sakkyoku) is the standard term for music composition, several other words and phrases relate to music creation, each with slightly different nuances.
作詞 (sakushi): This specifically means 'lyric writing'. It's the creation of the words for a song. Often paired with 作曲.
- 作詞・作曲 (sakushi sakkyoku)
- This compound term means 'lyric writing and composition' and refers to the complete process of creating a song, both words and music. It's very common for popular music.
この曲の作詞・作曲は彼が担当しました。
- 編曲 (henkyoku)
- This means 'arrangement' or 'orchestration'. It's the process of adapting an existing musical composition for a different set of instruments, voices, or style. It is not the original creation.
- 作曲家 (sakkyokuka)
- This word means 'composer', the person who does 作曲.
- 音楽制作 (ongaku seisaku)
- This is a broader term meaning 'music production'. It can encompass composition, arrangement, recording, mixing, and mastering – the entire process of bringing a musical piece to fruition.
- 創作 (sōsaku)
- A general term for 'creation' or 'creativity'. While 作曲 is a specific type of 創作, 創作 itself can apply to any art form.
چقدر رسمی است؟
نکته جالب
The kanji 曲 (kyoku) itself originally depicted a bent or winding road, which evolved to represent a melody or tune that winds its way through time. Its use in 作曲 highlights the journey of creating a musical path.
راهنمای تلفظ
- Pronouncing the 'k' in 'kyoku' too hard, making it sound like 'kakkyoku'.
- Not properly palatalizing the 'k' before 'yoku', leading to a sound closer to 'sak-ko-ku'.
- Incorrectly stressing the first syllable 'sa'.
سطح دشواری
Understanding 作曲 in simple sentences is straightforward. However, comprehending advanced discussions about composition techniques, music theory, or the philosophical aspects of music creation requires a higher level of vocabulary and context.
Using 作曲 correctly in basic sentences is achievable. However, accurately describing complex compositional processes or nuanced artistic intentions requires a more advanced vocabulary and grammatical grasp.
Using 作曲 in everyday conversation about music is manageable. Discussing specific compositional styles, techniques, or theories in depth would require more advanced language skills.
Recognizing 作曲 in common contexts like music reviews or artist interviews is relatively easy. Understanding specialized discussions on music theory or avant-garde composition might be challenging.
بعداً چه یاد بگیریم؟
پیشنیازها
بعداً یاد بگیرید
پیشرفته
گرامر لازم
Using the verb する (suru) with nouns to create verbs.
作曲 (sakkyoku - noun) + する (suru - verb) = 作曲する (sakkyoku suru - to compose music).
Using the particle を (o) to mark the direct object.
彼は曲の作曲を始めた。(He started the composition of the song.)
Using 〜たい (tai) to express desire.
私は作曲家になりたいです。(I want to become a composer.)
Using passive voice (〜られる/〜れる) for actions done to something.
この曲は有名な作曲家によって作曲されました。(This song was composed by a famous composer.)
Using 〜によって (ni yotte) to indicate the agent in a passive sentence.
この作品は、才能ある作曲家によって作曲された。(This work was composed by a talented composer.)
مثالها بر اساس سطح
歌を歌います。
I sing a song.
This uses the verb 歌う (utau - to sing).
音楽が好きです。
I like music.
音楽 (ongaku) means music.
ピアノを弾きます。
I play the piano.
弾く (hiku) is used for playing musical instruments.
これは新しい歌です。
This is a new song.
歌 (uta) means song.
友達と歌いました。
I sang with my friend.
Past tense of 歌う (utau).
いい音楽ですね。
It's nice music, isn't it?
ね (ne) is a sentence-ending particle seeking agreement.
ギターを習っています。
I am learning the guitar.
習う (narau) means to learn.
どんな音楽が好きですか？
What kind of music do you like?
どんな (donna) means what kind of.
彼は新しい曲の作曲を始めました。
He started the composition of a new song.
作曲 (sakkyoku) means composition. を始めました (o hajimemashita) means started.
この歌の作曲は誰ですか？
Who is the composer of this song?
誰 (dare) means who. This asks about the creator of the music.
私は作曲家になりたいです。
I want to become a composer.
作曲家 (sakkyokuka) is a composer. 〜たいです (tai desu) expresses a desire.
映画の音楽の作曲を手伝いました。
I helped with the music composition for the movie.
手伝いました (tetsudaimashita) means helped. This shows involvement in the creation process.
彼女は自分で曲の作曲をします。
She composes songs herself.
自分で (jibun de) means by oneself. 〜をします (o shimasu) is the verb form of 'to do'.
この曲は有名な作曲家によって作られました。
This song was made by a famous composer.
〜によって (ni yotte) means by. 作られました (tsukuraremashita) is the passive form of 作る (tsukuru - to make).
子供向けの作曲教室がありますか？
Is there a composition class for children?
〜向け (muke) means for/aimed at. 教室 (kyōshitsu) means class.
彼の作曲はいつも独創的です。
His compositions are always original.
独創的 (dokusōteki) means original. 〜的 (teki) makes it an adjective.
そのオペラの作曲に数年かかりました。
The composition of that opera took several years.
数年 (sūnen) means several years. 〜にかかりました (ni kakarimashita) means took (time).
彼は現代音楽の作曲分野で高く評価されています。
He is highly regarded in the field of contemporary music composition.
現代音楽 (gendai ongaku) - contemporary music. 分野 (bun'ya) - field. 高く評価されています (takaku hyōka sarete imasu) - is highly regarded.
作曲のプロセスは、インスピレーションが湧くのを待つことから始まります。
The composition process begins with waiting for inspiration to strike.
プロセス (purosesu) - process. インスピレーション (insupirēshon) - inspiration. 湧く (waku) - to spring forth/arise.
作曲家は、感情を音で表現しようとします。
Composers try to express emotions through sound.
感情 (kanjō) - emotion. 音 (oto) - sound. 表現する (hyōgen suru) - to express.
この曲の作曲には、民族音楽の要素が取り入れられています。
Elements of folk music are incorporated into the composition of this song.
民族音楽 (minzoku ongaku) - folk music. 要素 (yōso) - element. 取り入れられています (toriiraretemasu) - are incorporated (passive).
彼はジャズとクラシックを融合させた独自の作曲スタイルを持っています。
He has a unique composition style that fuses jazz and classical music.
融合させる (yūgō saseru) - to fuse. 独自 (dokuji) - unique. スタイル (sutairu) - style.
作曲の才能は、訓練と経験によって磨かれます。
The talent for composition is polished through training and experience.
才能 (sainō) - talent. 訓練 (kunren) - training. 経験 (keiken) - experience. 磨かれます (migakaremasu) - is polished (passive).
現代の作曲家は、電子音楽の技術も駆使しています。
Modern composers also make full use of electronic music technology.
現代の (gendai no) - modern. 電子音楽 (denshi ongaku) - electronic music. 駆使する (kushi suru) - to make full use of.
彼の最新作は、実験的な作曲技法が用いられていることで注目を集めている。
His latest work is attracting attention for its use of experimental composition techniques.
最新作 (saishinsaku) - latest work. 実験的な (jikkenteki na) - experimental. 技法 (gihō) - technique. 用いられている (mochiirareru) - is used (passive). 注目を集めている (chūmoku o atsumete iru) - is attracting attention.
作曲家として成功するには、技術だけでなく、聴衆の心に響くメロディーを生み出す感性も不可欠だ。
To succeed as a composer, not only technique but also the sensibility to create melodies that resonate with the audience's hearts is indispensable.
成功する (seikō suru) - to succeed. 技術 (gijutsu) - technique. 聴衆 (chōshū) - audience. 心に響く (kokoro ni hibiku) - to resonate with the heart. 感性 (kensei) - sensibility. 不可欠だ (fukaketsu da) - is indispensable.
この楽曲の作曲にあたり、作曲家は故郷の自然からインスピレーションを得たと語っている。
Regarding the composition of this piece of music, the composer states that they drew inspiration from the nature of their hometown.
楽曲 (gakkyoku) - musical piece. 〜にあたり (ni atari) - regarding/upon. 故郷 (kokyō) - hometown. 自然 (shizen) - nature. 得た (eta) - obtained/gained. 語っている (katatte iru) - is stating/saying.
彼は、伝統的な音楽理論に縛られず、自由な発想に基づいた作曲を追求している。
He pursues composition based on free ideas, without being bound by traditional music theory.
伝統的な (dentōteki na) - traditional. 音楽理論 (ongaku riron) - music theory. 縛られる (shibarareru) - to be bound (passive). 自由な発想 (jiyū na hassō) - free ideas. 追求する (tsuikyū suru) - to pursue.
現代の音楽教育では、単なる楽器の演奏技術だけでなく、作曲能力の育成も重視されている。
In modern music education, the cultivation of composition ability, not just instrumental performance skills, is also emphasized.
現代の (gendai no) - modern. 音楽教育 (ongaku kyōiku) - music education. 単なる (tannaru) - mere/just. 楽器の演奏技術 (gakki no ensō gijutsu) - instrumental performance skills. 能力 (nōryoku) - ability. 育成 (ikusei) - cultivation. 重視されている (jūshi sarete iru) - is emphasized (passive).
その作曲家は、生涯にわたって多様なジャンルの音楽を手がけ、その功績は広く認められている。
That composer tackled various genres of music throughout their life, and their achievements are widely recognized.
生涯 (shōgai) - lifetime. 多様な (tayō na) - diverse. ジャンル (janru) - genre. 手がける (tegakeru) - to tackle/handle. 功績 (kōseki) - achievement. 広く (hiroku) - widely. 認められている (mitomerarete iru) - is recognized (passive).
作曲におけるインスピレーションの源泉は、日常生活の些細な出来事や人間関係の中に潜んでいることが多い。
The source of inspiration in composition often lies hidden within trivial everyday events and human relationships.
源泉 (gensen) - source. 日常生活 (nichijō seikatsu) - daily life. 些細な (sasai na) - trivial. 出来事 (dekigoto) - event. 人間関係 (ningen kankei) - human relationships. 潜んでいる (hisonde iru) - is hidden/lurking.
彼は、聴衆とのインタラクティブな関係性を重視した作曲を試みている。
He is attempting composition that emphasizes an interactive relationship with the audience.
聴衆 (chōshū) - audience. インタラクティブな (intarakutibu na) - interactive. 関係性 (kankei sei) - relationship. 重視した (jūshi shita) - emphasized. 試みている (kokoromite iru) - is attempting.
その作曲家は、伝統的な和声理論の枠組みを超えた、斬新な音響空間の創出に成功した。
That composer succeeded in creating a novel acoustic space that transcends the framework of traditional harmonic theory.
和声理論 (wasei riron) - harmonic theory. 枠組み (wakugumi) - framework. 超えた (koeta) - transcended. 斬新な (zanshin na) - novel/innovative. 音響空間 (onkyō kūkan) - acoustic space. 創出 (sōshutsu) - creation.
彼の作曲スタイルは、ミニマリズムとポストモダン主義の要素を巧みに融合させ、聴き手に深い思索を促す。
His composition style skillfully fuses elements of minimalism and postmodernism, prompting deep contemplation in the listener.
ミニマリズム (minimmarizumu) - minimalism. ポストモダン主義 (posutomodanshu gi) - postmodernism. 巧みに (takumi ni) - skillfully. 融合させ (yūgō sase) - fuses. 聴き手 (kikite) - listener. 深い思索 (fukai shisaku) - deep contemplation. 促す (unagasu) - to prompt/urge.
現代の作曲家たちは、アルゴリズム作曲やAIを活用した音楽制作など、新たな表現手法を積極的に模索している。
Contemporary composers are actively exploring new methods of expression, such as algorithmic composition and music production utilizing AI.
アルゴリズム作曲 (arugorizumu sakkyoku) - algorithmic composition. AI (Ē Ai) - AI. 活用した (katsuyō shita) - utilized. 音楽制作 (ongaku seisaku) - music production. 新たな表現手法 (aratana hyōgen shuhō) - new methods of expression. 模索している (mosaku shite iru) - are exploring.
この交響曲の作曲にあたっては、作曲家は歴史的文献を渉猟し、当時の音楽的背景を深く理解しようと努めた。
For the composition of this symphony, the composer strove to deeply understand the musical background of the time by thoroughly researching historical documents.
交響曲 (kōkyōkyoku) - symphony. 〜にあたっては (ni atatte wa) - regarding/in the context of. 歴史的文献 (rekishiteki bunken) - historical documents. 渉猟し (shōryō shi) - thoroughly researched. 当時 (tōji) - at that time. 音楽的背景 (ongakuteki haikei) - musical background. 理解しようと努めた (rikai shiyō to tsutometa) - strove to understand.
作曲家は、聴覚だけでなく、視覚や触覚にも訴えかけるような、多感覚的な音楽体験の創造を目指している。
Composers aim to create multisensory musical experiences that appeal not only to hearing but also to sight and touch.
聴覚 (chōkaku) - hearing. 視覚 (shikaku) - sight. 触覚 (shokkaku) - touch. 訴えかける (uttaekakeru) - to appeal to. 多感覚的な (takankakuteki na) - multisensory. 音楽体験 (ongaku taiken) - musical experience. 創造 (sōzō) - creation. 目指している (mezashite iru) - is aiming for.
彼の作品における作曲技法は、既存のジャンルの境界線を曖昧にし、聴き手に新たな解釈の余地を与える。
The composition techniques in his works blur the boundaries of existing genres, leaving room for new interpretations for the listener.
作品 (sakuhin) - work(s). 作曲技法 (sakkyoku gihō) - composition technique. 既存の (kizon no) - existing. ジャンル (janru) - genre. 境界線 (kyōkaisen) - boundary line. 曖昧にする (aimai ni suru) - to blur/make ambiguous. 新たな解釈 (aratana kaishaku) - new interpretation. 余地 (yochi) - room/scope.
現代の音楽理論では、作曲における非線形構造や複雑なリズムパターンといった、革新的なアプローチが数多く探求されている。
In modern music theory, numerous innovative approaches are being explored, such as nonlinear structures and complex rhythmic patterns in composition.
音楽理論 (ongaku riron) - music theory. 非線形構造 (hisenkei kōzō) - nonlinear structure. 複雑なリズムパターン (fukuzatsu na rizumu patān) - complex rhythmic pattern. 革新的なアプローチ (kakushinteki na apurōchi) - innovative approach. 探求されている (tankyū sarete iru) - are being explored (passive).
作曲家は、自身の内面世界を音で具現化するプロセスにおいて、しばしば無意識の領域にまで踏み込む。
In the process of embodying their inner world through sound, composers often delve even into the realm of the unconscious.
内面世界 (naimen sekai) - inner world. 具現化する (gugenka suru) - to embody/materialize. プロセス (purosesu) - process. 無意識の領域 (muishiki no ryōiki) - realm of the unconscious. 踏み込む (fumikomu) - to step into/delve into.
その作曲家は、音響詩学の観点から、音楽における意味生成のメカニズムを解明しようと試みた。
That composer attempted to elucidate the mechanism of meaning generation in music from the perspective of sound poetics.
音響詩学 (onkyō shigaku) - sound poetics. 観点 (kanten) - perspective. 意味生成 (imi seisei) - meaning generation. メカニズム (mekanizumu) - mechanism. 解明する (kaimei suru) - to elucidate/clarify. 試みた (kokoromita) - attempted.
彼の後期作品に見られる作曲技法は、従来の調性システムからの逸脱を極限まで推し進め、聴覚体験の地平を拡張した。
The composition techniques seen in his later works pushed the deviation from the conventional tonal system to the extreme, expanding the horizons of auditory experience.
後期作品 (kōki sakuhin) - later works. 従来の (jūrai no) - conventional/traditional. 調性システム (chōsei shisutemu) - tonal system. 逸脱 (itsudatsu) - deviation. 極限まで (kyokugen made) - to the extreme. 推し進め (oshi susume) - pushed forward. 聴覚体験 (chōkaku taiken) - auditory experience. 地平 (chihei) - horizon. 拡張した (kakuchō shita) - expanded.
作曲家は、音楽的記譜法における不確定性原理の導入を通じて、演奏者との協働による新たな音楽的現実の創成を模索した。
Through the introduction of the principle of uncertainty in musical notation, the composer explored the creation of a new musical reality through collaboration with performers.
音楽的記譜法 (ongakuteki kifu hō) - musical notation. 不確定性原理 (fukakuteisei genri) - principle of uncertainty. 導入 (dōnyū) - introduction. 演奏者 (ensōsha) - performer. 協働 (kyōdō) - collaboration. 新たな音楽的現実 (aratana ongakuteki genjitsu) - new musical reality. 創成 (sōsei) - creation.
その作品は、ポストコロニアルな視点から、西洋音楽の普遍性という概念に疑問を投げかけ、非西洋的な音楽言語の探求を促す。
That work, from a postcolonial perspective, questions the concept of the universality of Western music and encourages the exploration of non-Western musical languages.
ポストコロニアルな視点 (posutokoroniaru na shiten) - postcolonial perspective. 西洋音楽 (seiyō ongaku) - Western music. 普遍性 (fuhensei) - universality. 概念 (gainen) - concept. 疑問を投げかける (gimon o nagekakeru) - to question. 非西洋的な (hi-seiyōteki na) - non-Western. 音楽言語 (ongaku gengo) - musical language. 探求 (tankyū) - exploration.
作曲家は、音響心理学の知見を応用し、聴覚の受容プロセスにおける認知的な歪みを意図的に利用することで、聴き手の知覚を操作する。
The composer applies knowledge from psychoacoustics and intentionally utilizes cognitive distortions in the auditory perception process to manipulate the listener's perception.
音響心理学 (onkyō shinrigaku) - psychoacoustics. 知見 (chiken) - knowledge/findings. 応用し (ōyō shi) - applying. 受容プロセス (juyō purosesu) - perception process. 認知的な歪み (ninchiteki na yugami) - cognitive distortion. 意図的に (itoteki ni) - intentionally. 利用する (riyō suru) - to utilize. 知覚 (chikaku) - perception. 操作する (sōsa suru) - to manipulate.
この音楽は、計算論的作曲技法と即興演奏の要素を巧みに織り交ぜ、予測不可能でありながらも統制された音響体験を提供する。
This music skillfully interweaves elements of computational composition techniques and improvisation, offering an unpredictable yet controlled auditory experience.
計算論的作曲技法 (keisankōteki sakkyoku gihō) - computational composition technique. 即興演奏 (sokkyō ensō) - improvisation. 織り交ぜ (orimaze) - interweave/mix. 予測不可能 (yosoku fukanō) - unpredictable. 統制された (tōsei sareta) - controlled.
作曲家は、音楽における時間性の非線形な捉え方を追求し、聴き手の時間感覚を揺さぶるような構造を提示する。
The composer pursues a nonlinear conception of temporality in music, presenting structures that shake the listener's sense of time.
時間性 (jikansei) - temporality. 非線形な捉え方 (hisenkei na toraekata) - nonlinear conception/understanding. 追求し (tsuikyū shi) - pursuing. 時間感覚 (jikan kankaku) - sense of time. 揺さぶる (yusaburu) - to shake/disturb. 構造 (kōzō) - structure. 提示する (teiji suru) - to present.
彼の作品群は、音楽とテクノロジーの境界領域における作曲の可能性を極限まで探求し、新たな芸術的パラダイムを提示した。
His body of work explored the possibilities of composition in the borderland between music and technology to the extreme, presenting a new artistic paradigm.
作品群 (sakuhin gun) - body of work. 境界領域 (kyōkai ryōiki) - borderland/boundary area. 可能性 (kanōsei) - possibility. 極限まで (kyokugen made) - to the extreme. 探求し (tankyū shi) - explored. 新たな芸術的パラダイム (aratana geijutsuteki paradaimu) - new artistic paradigm.
ترکیبهای رایج
عبارات رایج
— To compose music; to do composition.
彼女は趣味で作曲をしています。(She composes music as a hobby.)
— To become a composer.
子供の頃から作曲家になるのが夢でした。(It was my dream to become a composer since I was a child.)
— To have a talent for composition.
彼は作曲の才能があると言われています。(He is said to have a talent for composition.)
— To commission someone to compose music.
映画のために、有名な作曲家に作曲を依頼しました。(We commissioned a famous composer to compose music for the movie.)
— To study composition.
彼は大学で作曲の勉強をしています。(He is studying composition at university.)
— The process of composition.
作曲のプロセスは、人によって様々です。(The process of composition varies from person to person.)
— To receive a commission to compose music.
彼は新しいゲームの作曲の依頼を受けました。(He received a commission to compose music for a new game.)
— To hone composition skills.
彼は日々、作曲の技術を磨いています。(He hones his composition skills every day.)
— To attempt composition; to challenge oneself with composing.
初めてオペラの作曲に挑戦しました。(I attempted composing an opera for the first time.)
— Inspiration for composition.
彼の作曲のインスピレーションは、自然から得られることが多い。(His inspiration for composition often comes from nature.)
اغلب اشتباه گرفته میشود با
作詞・作曲 (sakushi sakkyoku) is the creation of music, while 演奏 (ensō) is the performance of music. You compose a song, and then you perform it.
作曲 is the original creation of music. 編曲 is adapting existing music for different instruments or styles.
作詞 is specifically writing lyrics. 作曲 is writing the music. Often they are paired as 作詞・作曲.
اصطلاحات و عبارات
— To dislike dishonest or crooked things. (Literally: dislikes crooked things, unrelated to music composition.)
彼は正直者で、曲がったことが嫌いな人だ。(He is an honest person who dislikes crooked things.)
Informal— To set music to lyrics; to compose a melody for words. This is a specific type of composition.
彼は詩に美しい曲を付けた。(He set beautiful music to the poem.)
Neutral— To hit a wrong note; to sing or play out of tune. (Related to performance, not composition.)
緊張して、歌っている途中で音を外してしまった。(I got nervous and hit a wrong note while singing.)
Informal— To get carried away; to become overconfident. (Can be related to the creative process but not directly composition itself.)
初めはうまくいったが、調子に乗ってやりすぎた。(It went well at first, but I got carried away and did too much.)
Informal— To have a hidden motive or secret intention. (Unrelated to music.)
彼の笑顔の裏には、腹に一物持っているように見える。(Behind his smile, he seems to have a hidden motive.)
Neutral— To hear no news from someone; to be out of contact.
最近、彼から全く音沙汰がない。(I haven't heard any news from him recently.)
Neutral— To make a noise. (General term for sound.)
夜中に大きな音を立てないでください。(Please do not make loud noises in the middle of the night.)
Neutral— A crooked or dishonest character/spirit. (Negative connotation.)
そんな曲がった根性では、世の中を渡っていけない。(With such a crooked spirit, you cannot get by in the world.)
Informal— To give up; to cry out in pain or exhaustion.
あまりの暑さに、彼はついに音を上げた。(He finally gave up due to the extreme heat.)
Informal— Interpretation of a musical piece. (Related to performance/analysis, not composition itself.)
ピアニストによって、同じ曲でも解釈が異なる。(Even with the same piece, the interpretation differs depending on the pianist.)
Neutralبهراحتی اشتباه گرفته میشود
Both refer to music creation.
作曲 refers to the act of creating the music itself (melody, harmony, rhythm). 作曲家 (sakkyokuka) refers to the person who does the composing.
彼は素晴らしい<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>をする。(He does wonderful composition.) vs. 彼は有名な<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲家</mark>だ。(He is a famous composer.)
Both involve creating musical elements.
作曲 is the original creation of music. 編曲 (henkyoku) is adapting or arranging existing music for different instruments or styles.
この曲の<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>は彼が担当した。(He was in charge of the composition of this song.) vs. この曲の<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>編曲</mark>は私が行いました。(I did the arrangement of this song.)
Both are related to music.
作曲 is the creation of music. 音楽 (ongaku) is a broader term for music in general, including listening, performing, and theory.
彼は<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>に興味がある。(He is interested in composition.) vs. 彼は<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>音楽</mark>全般が好きだ。(He likes music in general.)
Both relate to songs.
作曲 is the creation of the music. 歌 (uta) is specifically a song, often with lyrics, and can refer to the performance or the piece itself.
彼は新しい<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>をしている。(He is doing new composition.) vs. 彼女は素敵な<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>歌</mark>を歌った。(She sang a lovely song.)
Both involve making something musical.
作曲 is the act of creating music. 曲 (kyoku) is the result – a musical piece or song.
彼は<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>に情熱を燃やしている。(He burns with passion for composition.) vs. この<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>曲</mark>はとても有名だ。(This piece/song is very famous.)
الگوهای جملهسازی
Noun + を + 作曲する
彼は新しい歌を<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>した。
Noun + は + Noun + です
これは私の<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>です。
Noun + の + Noun
有名な<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>家がこの曲を書きました。
Noun + が + Verb (potential)
私は<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>ができます。
Noun + を + 職業とする
彼女は<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>を職業としている。
Noun + を + 手がける
彼は映画音楽の<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>を手がけた。
Noun + に + 専念する
彼は最近、<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>に専念している。
Noun + の + 観点から
<mark class='bg-violet-200 dark:bg-violet-800 px-0.5 rounded'>作曲</mark>の観点から、この曲は革新的だ。
خانواده کلمه
اسمها
فعلها
مرتبط
نحوه استفاده
Medium
-
Using 作曲 for performance.
→
演奏 (ensō) or 演奏する (ensō suru).
作曲 means to create music, while 演奏 means to perform music. These are distinct actions in the musical process. For example, saying 'I did 作曲 yesterday' when you actually played a song is incorrect.
-
Confusing 作曲 with 編曲.
→
作曲 (sakkyoku) for original creation, 編曲 (henkyoku) for arrangement.
作曲 is the initial creation of a piece. 編曲 is adapting that piece for different instruments or styles. They are not interchangeable.
-
Omitting する when it's needed as a verb.
→
作曲をする (sakkyoku o suru) or 作曲する (sakkyoku suru).
While 作曲 is a noun, it often functions as part of a verb phrase with する. Saying 'I 作曲' is incomplete; it should be 'I 作曲をします' (I do composition) or 'I 作曲します' (I compose).
-
Using 作曲 when lyrics are also involved.
→
作詞・作曲 (sakushi sakkyoku).
作曲 alone refers only to the music. If lyrics are also created, use the compound term 作詞・作曲 to encompass both aspects.
-
Pronouncing 作曲 incorrectly.
→
さっきょく (sak-KYU-ku) with stress on the second syllable and a palatalized 'k'.
Common errors include stressing the wrong syllable or not properly pronouncing the 'kyu' sound, which can lead to misunderstanding.
نکات
Distinguish from Related Terms
Remember that 作曲 (sakkyoku) is specifically about creating the music. 作詞 (sakushi) is about writing lyrics, and 編曲 (henkyoku) is about arranging existing music. Using the correct term will make your Japanese clearer.
Use with する
The most common way to use 作曲 as a verb is with する: 作曲する (sakkyoku suru), meaning 'to compose music'. Practice using this verb form in various tenses.
Listen to Music Discussions
Pay attention to how 作曲 is used in interviews with musicians, music reviews, or documentaries about music creation in Japanese media. This will help you understand its natural usage.
Connect to 'Sakkyoku'
Use the mnemonic 'sack of kyu' (musical notes) you carry to compose music to remember the pronunciation and meaning.
Express Your Musical Interests
If you have musical interests, try to express them using 作曲. For example, 'I want to try 作曲' or 'I admire composers who do 作曲'.
Identify Composers
When reading about music, look for mentions of 作曲 or 作曲家 to identify who created the music and understand the context of its creation.
Describe Your Own Creations
If you create any form of art, even simple melodies, try describing the process using 作曲, even if it's just for practice.
Appreciate Japanese Composers
Learn about famous Japanese composers like Joe Hisaishi or Yoko Kanno. Understanding their work and the context of their 作曲 can enrich your learning.
Practice the 'Kyoku' Sound
Focus on the palatalized 'k' sound in 'kyoku' (きょく). It's slightly different from a standard 'k' sound and is crucial for correct pronunciation.
Explore Related Concepts
Once comfortable with 作曲, delve into related concepts like harmony (和声 - wasei), counterpoint (対位法 - taiihō), and musical form (楽式 - gakushiki) to deepen your understanding of music theory.
حفظ کنید
روش یادسپاری
Imagine a 'sack' (さっ - sak) full of 'kyu' (きゅ - kyu) - like little musical notes or melodies - that you are 'carrying' (ょく - yoku, similar sound to carry) to create a song. You are carrying a sack of melodies to compose music.
تداعی تصویری
Picture a composer sitting at a piano, surrounded by piles of sheet music. One pile is labeled 'SAKKYOKU' with musical notes spilling out. They are actively writing new notes onto a fresh sheet.
شبکه واژگان
چالش
Try to write a simple melody for a children's rhyme using basic musical notation or even just humming. This hands-on experience will solidify your understanding of what 作曲 entails.
ریشه کلمه
The word is a compound of two kanji: 作 (saku) meaning 'to make' or 'to create', and 曲 (kyoku) meaning 'song', 'tune', or 'music piece'. The combination literally means 'to make music'.
معنای اصلی: To create a song or musical piece.
Sino-Japanese (derived from Chinese characters)بافت فرهنگی
When discussing music composition, be mindful of respecting the artist's creative process and the effort involved. Avoid trivializing the act of creation.
In English-speaking countries, the term 'composition' is used for the act of creating music, and 'composer' for the person. The concept is very similar, emphasizing original creation.
تمرین در زندگی واقعی
موقعیتهای واقعی
Discussing a musician's work
- 彼の作曲は素晴らしい。
- 新しい曲の作曲を始めた。
- 作曲家として有名です。
Music education
- 作曲の授業をとりました。
- 作曲の才能があります。
- 作曲の勉強をしています。
Talking about films or games
- 映画の音楽作曲は誰がしましたか？
- このゲームの作曲が好きです。
- サウンドトラックの作曲を手がける。
Describing the creative process
- 作曲のインスピレーションはどこから？
- 作曲のプロセスは複雑だ。
- 作曲に集中する時間が必要だ。
General appreciation of music
- この曲の作曲は誰だろう？
- 作曲の才能に驚く。
- 作曲の技術がすごい。
شروعکنندههای مکالمه
"What kind of music do you enjoy listening to?"
"Have you ever tried composing your own music?"
"Who is your favorite composer and why?"
"What do you think makes a song memorable?"
"Do you believe creativity can be taught, especially in areas like music composition?"
موضوعات نگارش
Describe a piece of music that deeply moved you. What elements of its composition stood out?
Imagine you have the talent to compose any type of music. What genre would you focus on and why?
What does the act of creation mean to you? How can this apply to music composition?
If you could collaborate with any composer, living or dead, who would it be and what kind of music would you create together?
Reflect on a time you felt inspired. How might that inspiration translate into a musical composition?
سوالات متداول
10 سوال作曲 (sakkyoku) is the noun referring to the act or process of composing music. 作曲家 (sakkyokuka) is the noun referring to the person who composes music, i.e., a composer. Example: 彼は作曲をするのが好きです。(He likes composing music.) He is a 作曲家.(He is a composer.)
No, 作曲 (sakkyoku) specifically refers to the creation of the music itself (melodies, harmonies, rhythms). If lyrics are involved, the term is usually 作詞・作曲 (sakushi sakkyoku), where 作詞 (sakushi) means lyric writing.
Yes, 作曲 can be used for any genre of music, from classical symphonies to pop songs, jazz pieces, film scores, and video game music. It refers to the act of original musical creation regardless of style.
The verb form is 作曲する (sakkyoku suru), which means 'to compose music'. Example: 彼女は毎日作曲をしています。(She composes music every day.)
The word for arrangement or orchestration is 編曲 (henkyoku). This is different from 作曲 (sakkyoku), which is the original composition.
No, 作曲 can be used for both vocal music (songs with lyrics) and instrumental music. When referring to songs with lyrics, it's often used in conjunction with 作詞 (sakushi), as in 作詞・作曲 (sakushi sakkyoku).
If someone is good at 作曲, it means they have skill and talent in creating original music. They can likely come up with melodies, harmonies, and structures that are pleasing or effective.
Yes, a more informal and casual way to refer to making songs is 曲作り (kyokuzukuri). However, 作曲 is the standard and more widely applicable term.
作曲 (sakkyoku) specifically refers to the creative act of composing music. 音楽制作 (ongaku seisaku) is a broader term meaning 'music production', which can include composition, but also recording, mixing, mastering, and other technical aspects of bringing music to life.
Try to write simple sentences about your favorite songs or composers. You can also try humming a simple melody and thinking of it as your own 作曲. Look for opportunities to use it when discussing music.
خودت رو بسنج 10 سوال
/ 10 درست
نمره کامل!
Summary
作曲 (sakkyoku) is the Japanese word for the act of creating music, encompassing the process of writing original songs, melodies, and harmonies.
- The act of creating music.
- Used when someone writes original songs or pieces.
- The creative process behind melodies and harmonies.
- Also referred to as composing music.
Distinguish from Related Terms
Remember that 作曲 (sakkyoku) is specifically about creating the music. 作詞 (sakushi) is about writing lyrics, and 編曲 (henkyoku) is about arranging existing music. Using the correct term will make your Japanese clearer.
Use with する
The most common way to use 作曲 as a verb is with する: 作曲する (sakkyoku suru), meaning 'to compose music'. Practice using this verb form in various tenses.
Listen to Music Discussions
Pay attention to how 作曲 is used in interviews with musicians, music reviews, or documentaries about music creation in Japanese media. This will help you understand its natural usage.
Connect to 'Sakkyoku'
Use the mnemonic 'sack of kyu' (musical notes) you carry to compose music to remember the pronunciation and meaning.
مثال
彼は作曲の勉強をしています。
محتوای مرتبط
این کلمه در زبانهای دیگر
واژههای بیشتر music
伴奏
A2همراهی موسیقی برای یک خواننده تکخوان یا نوازنده.
伴奏する
A2همراهی کردن موسیقیایی یک خواننده یا نوازنده تکنواز.
調整する
A2ما باید زمان جلسه را تنظیم کنیم.
アルバム
A2مجموعهای از ضبطهای موسیقی (آلبوم موسیقی). کتاب یا پوشه دیجیتالی برای نگهداری عکسها (آلبوم عکس).
拍手する
A2کف زدن (はくしゅする) به معنی دست زدن برای نشان دادن تایید یا قدردانی، به عنوان مثال پس از یک اجرا یا سخنرانی است.
拍手
A2دست زدن؛ تشویق کردن با زدن کف دستها به هم.
〜は
A2حرف اضافه 'wa' برای مشخص کردن موضوع جمله استفاده میشود و به معنای 'در موردِ' است.
観客
A2افرادی که برای تماشای یک نمایش یا رویداد ورزشی میآیند؛ تماشاگران.
バンド
A2گروهی از نوازندگان که با هم موسیقی می نوازند.
大きく
A2به طور بزرگ یا بلند. برای صدا یا اندازه استفاده میشود.
