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舞踊과 音樂의 相關關係에 대한 硏究

Title
舞踊과 音樂의 相關關係에 대한 硏究
Other Titles
AN ANALYTIC PROPOSITION FOR THE INTERRELATION BETWEEN FORMAL ASPECTS OF DANCE AND MUSIC
Authors
李庸玉
Issue Date
1981
Department/Major
대학원 무용과
Publisher
이화여자대학교 대학원
Degree
Master
Advisors
육완순
Abstract
This study is another attempt to bring into focus the interrelation between formal aspects of dance and its music. The object of the study was video-tape-recorded performance of Martha Graham, choreographed on "Appalachian Spring", wellknown music of Aaron Copland. Though the interrelation between dance and music has been interpreted differently according to the historically changing definition of art, music, in general, has been considered as accompanying function to help the progress of dance. But this study is to make a suggestion that the basic forms of dance must be deeply affected by the formal conditions of accompanying music as both of arts are under restrictions of formal conditions. In due course, when dance does not consist with accompanying music in its forms, the performance, would bring contradictory expression rather than achievement of art. We could not tell dance from ordinary gesture if it does not have those patterns of stylistic movements. And also we could not call those music that don't have orderly succession of sounds. In other words both of the art forms are under controlling conditions of common forms. Dance is meaningless when the movements are devided into static pose, nor can we perceive the movement one by one without continuing change. That structure of the art form can be said similar to that of music in temporal organization. Conclusively, it must be said that it is music that provides dance with the formal structure on which choreography be laid; that is, music is prior condition to dance rather than just, assisting rhythm or atmosphere for performance. In this sense, the work of Martha Graham is considered as good example of composite art. Where dance plays its role as to fulfil the effect of music and also music does its role as to complete the unfinished part of effect. When performance is done on this level, it can be valued as harmonious completion of art.;本 論文은 작곡가 아론 코플란드의 ' 애팔래치아 봄' 에 안무한 안무가 마사·그라함의 공연 V.T.R. 작품분석을 통하여 무용과 음악의 형식적 상호관계를 연구하였다. 공연예술로서의 무용은 무대라는 제한된 공간과 음악이 설정하는 한정된 시간 속에 존재한다 하겠다. 무용과 음악의 상관관계는 시대에 따라 달라졌는데, 대체로 음악이 춤의 필요조건으로부터 이제는 서로 긴밀한 관계로 발전되어 가고있다. 이 두 가지 예술의 형식적인 관계를 논리적으로 분명하게 규정짓는 일은 힘들지만 적어도 음악은 형식을 갖추어 제시되는 만큼 이를 분석함으로서 두 예술의 형식상의 공통된 관련성을 발견할 수 있다. 여기에서 무용의 공간적 구성형식은 음악의 시간적인 형식과 일치할 수 있게되는 것이다. 따라서 음악은 단순히 무용의 리듬이나 분위기 또는 춤추기 위한 반주를 넘어서서 무용의 형식을 제시하거나 도울 수 있는 안무의 기초를 마련해 주고 있다. 무용이 이런 바탕에서 이루어질 때 비로소 이 예술은 종합예술로의 조화있는 하나의 작품을 완성할 수 있게 될 것이다.
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