緒言 日本の現代音楽界におけるノーノ 1. 出発点 1. 音楽的背景 2. 「点描的作風」あるいは「セリエルな音楽の作曲家」? Ⅱ. 作曲技法の独自性の諸相 1. 音響場Klangfeldの生成 2. 断片性とその根拠 3. 構造としての引用 4. 契機としての偶然性，実験，即興演奏 5 素材としての人声と言葉 結語

In the early era of the "contemporary music" in 50's only several works of the Italian composer, Luigi Nono, were known in Japan, and still his deep thoughts on his music remain unclear until today. The Nono's works were said to be unique even in the diverse stream of the "contemporary music" at that time, therefore it should not be right to regard him simply as "a avant-garde componist" or "a total seriest". One cannot understand the real value of his works without having a wide view toward them. This study describes several fundamental points of Nono's works-his musical background and his unique avant-gardistic methods of writing-refering to his own statements.