吳舜文Wu, Shun-Wen林欣儀Lin, Sin-Yi2024-12-172024-02-022024https://etds.lib.ntnu.edu.tw/thesis/detail/960bc97fc50e5fd5715612ba98e45e72/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/123842本研究採內容分析研究法對研究對象——Stravinsky芭蕾舞劇《火鳥》進行分析。以Paul Hodgins的舞蹈音樂分析法作為依據，設計芭蕾舞劇《火鳥》音樂對應舞蹈之內在關係分析類目表及芭蕾舞劇《火鳥》外在關係分析類目表，分兩階段進行。研究結論如下：一、內在關係：節奏的 （rhythmic），約67%音樂與舞蹈有明顯對應，約13%的部分僅有音樂，無舞蹈的呈現，約20%主要為角色進行劇情式動作，音樂與舞蹈無明顯對應。力度的 （dynamic），提出有明顯對應之部分，音樂力度突然變化對應舞蹈瞬間、快速的突然性的動作；音樂力度漸進變化，漸強或漸弱對應舞蹈動作的漸進變化。織度的 （textural）約71%為複音織體、約17%為主音織體、約13%為同時有主音織體及複音織體；對應結果，音樂上的織度與舞蹈的人數編排並無直接關係，音樂與舞蹈的織度與此樂段欲表現的內容聲響結構及視覺豐富度有關。結構的（structural），約83%音樂的結構與舞蹈有明顯對應，約8%未有舞蹈呈現，約8%音樂的結構與舞蹈無對應，舞蹈呈現劇情式動作。音質的 （qualitative），音域中音出現上行對應到跳躍或往上之動作，音色與舞蹈動作大多相配合；而協和音程的旋律對應協和之舞蹈動作，不協和音程對應角色的情緒轉變或不協調之動作；銳度/圓滑的部分相對應，斷音對應輕盈舞步、圓滑對應連續且流暢的動作。擬音的（mimetic），在此齣作品中第十三段中器樂模仿魔鐘的鐘聲。二、外在關係：原型的（archetypal），可見到音樂與舞蹈在整部作品中皆試圖表現「善與惡」這個原型概念。情緒的/心理的（emotional/psychological），17%無角色出現，79%音樂與舞蹈明顯符應劇中角色的情緒。4%音樂與舞蹈無明顯符應劇中角色的情緒。敘事的（narrative）的部分與前兩項結論重覆。本研究最後提出四項建議，提供未來相關研究參考。This study employs content analysis to analyze Igor Stravinsky's ballet "The Firebird." Utilizing Paul Hodgins' choreomusical analysis method as a foundation, two sets of category tables for analyzing the internal and external relationships between the music and dance in the ballet "The Firebird" were designed and implemented in two phases. The conclusions are as follows: Internal Relationships: •Rhythmic: Approximately 67% of the music and dance exhibit clear correspondences in rhythm. About 13% involve only music without accompanying dance, and roughly 20% predominantly feature character-driven narrative movements with no clear music-dance correlation.•Dynamic: Notable correspondences are observed, where sudden changes in music dynamics align with the ballet's quick and abrupt movements, while gradual changes correspond to the gradual evolution of dance movements. •Textural: Approximately 71% involve polyphonic textures, 17% feature monophonic textures, and 13% combine both. The analysis indicates that musical texture doesn't directly correlate with the number of dancers but is influenced by the desired sonic structure and visual richness of the segment. •Structural: Approximately 83% of the music's structure aligns with the dance, around 8% lacksdance presentation, and another 8% shows no correlation between the music's structure and the dance, with narrative movements being presented. •Qualitative (Timbre): Pitch changes correspond to upward or jumping movements, while timbre generally complements the dance movements. Harmony in the melody corresponds to harmonious dance movements, while dissonance corresponds to emotional changes or discordant movements. Sharpness/smoothness in sound corresponds to light or continuous and smooth dance movements. •Mimetic: In the thirteenth segment of the piece, instrumental sounds mimic the bell sound of a magic bell.External Relationships:•Archetypal: Both music and dance attempt to portray the archetypal concept of"good and evil" throughout the entire work. •Emotional/Psychological: About 17% lack character presence, while 79% show clear alignment between music and dance with the emotional states of the characters. 4% lack clear alignment. •Narrative: This aspect aligns with the conclusions drawn in the first two categories. The study concludes with four recommendations for future research in this area.舞蹈音樂芭蕾舞劇火鳥伊果．史特拉汶斯基保羅．霍金斯ChoreomusicalBalletThe FirebirdIgor StravinskyPaul Hodgins學術論文