Can Dance Reflect the Structural and Expressive Qualities of Music? A Perceptual Experiment on Balanchine's Choreography of Mozart's Divertimento No. 15
Can Dance Reflect the Structural and Expressive Qualities of Music? A Perceptual Experiment on Balanchine's Choreography of Mozart's Divertimento No. 15
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舞蹈可以反映音乐的结构和表现力吗？
DOI：
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发表时间：
1997
期刊：
影响因子：
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通讯作者：
Diana Lynn Schenck
中科院分区：
文献类型：
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作者：
C. Krumhansl;Diana Lynn Schenck
一项知觉实验研究了音乐和舞蹈之间的结构和表达映射。刺激材料是根据乔治·巴兰钦编排的W·A·莫扎特的第15号快板中的Minuetto改编的。参与者被分配到三种条件中的一种：仅限音乐、仅限舞蹈以及音乐和舞蹈。他们完成了四个在线任务：指出片段结尾和新想法的出现，以及判断紧张和情绪表达的程度。每个任务在三个条件下都表现出很强的相似性，包括只听音乐和只跳舞蹈的条件，这两个条件都不包含相同的刺激材料。对音乐和舞蹈的分析揭示了定义音乐和舞蹈之间映射的大量不同元素。它们在不同的层次上运作，并暗示音乐和身体运动之间的非偶然关系。音乐和舞蹈的状况可以预测为纯音乐和纯舞蹈的组合，前者的贡献更大。这段摘录的发现表明，音乐和舞蹈之间存在一种相加的、非互动的关系。这三种情况在不同的任务中都表现出相同的时间模式。新的想法是在章节开始时引入的，当时紧张程度和情感表达水平都很低。这些水平往往在路段内增加，在路段结束前达到峰值。这些结果表明，时间组织的一般图式在音乐和舞蹈中都起作用。最后，这三个条件产生了非常相似的情绪反应类型的判断，支持了音乐和舞蹈都可以进行类似的情绪表达的观点。
A perceptual experiment investigated the structural and expressive mappings between music and dance. The Stimulus materials were based on the Minuetto from W. A. Mozart's Divertimento No. 15 choreographed by George Balanchine. Participants were assigned to one of three conditions: Music Only, Dance Only, and Both Music and Dance. They performed four on-line tasks: indicating the occurrence of section ends and new ideas, and judging the amount of tension and emotion expressed. Each of the tasks showed strong similarity across the three conditions, including the Music Only and the Dance Only conditions which contained none of the same Stimulus materials. Analysis of the music and dance uncovered a large variety of elements that define mappings between music and dance. These operate on different hierarchical levels and suggest non-accidental relationships between music and bodily movement. The Both Music and Dance condition could be predicted as a combination of the Music Only and Dance Only conditions, with a stronger contribution of the former. The findings for this excerpt suggest an additive, non-interactive relationship between the music and dance. All three conditions exhibited the same temporal pattern among the tasks. New ideas were introduced at section beginnings when levels of tension and emotion expressed were low. These levels tended to increase within sections, reaching a peak just before section ends. These results suggest that a general Schema of temporal Organization operates in both music and dance. Finally, the three conditions produced very similar judgments of the type of emotional response, supporting the idea that both music and dance can engage similar representations of emotions.
影响因子：
7.6
作者：
GROSS, JJ;LEVENSON, RW
通讯作者：
LEVENSON, RW