即興能力使得演奏者不再專注於作曲家的作品上,而可以更隨性的彈奏。其中在舞蹈伴奏領域上,即興伴奏不僅須配合動作的節拍,更要搭配舞步的質感,對伴奏者而言更是一大挑戰。 由於在國內正規的音樂教育裡較少談到舞蹈伴奏的即興能力培養,因此研究者想要探討即興該如何運用在舞蹈伴奏上,以及兩者的互動關係,也希望藉由此研究論文讓習樂者學習與了解初步的即興訓練方法,進而應用在舞蹈即興伴奏上。 在文獻的回顧後,本文首先探討音樂與舞蹈的關係,並從兩者的生理、心理面向及音樂與舞蹈的三大要素:旋律-舞蹈線條、節奏-舞蹈節奏、和聲-舞蹈的內在情感中分析其相互的影響和關聯。之後談到即興的定義與概念,並收集各家說法,歸納出即興自我訓練的方法。另外也實際的去觀察舞蹈技巧課的上課情形,了解舞蹈與音樂之間的配合。 最後以芭蕾舞與現代舞作為探討的主題,分別闡述它們的區別與源流,並提供筆者的觀察及蒐集的譜例,將動作與音樂作一個實例呈現。在實例呈現中,每一種舞蹈動作會搭配一種適合其質地相近的譜例,供讀者參考作為即興變奏,而譜例的選擇是經過資深舞蹈伴奏者的認可,還有舞者的感受的,最後在實例呈現上也獲致良好的成果與肯定。
The improvisation makes player no lomits on work of composers. In the field of music for dance, the accompaniment not merely tohave the right tempo and still more to match up the quality of dancer’s action. So it is a big challenge for plater. As a result of few course to refer to the improvisation of music for dance in formal music education. The purpose of this research would to explore how improvisation operate in music for dance and what relationship between them. It’s also a goal of researcher that provides a way to introduce on how to train improvisation for learner. The research processing is beginning from reading literature in those fields. And look back on the history to discuss the relationship of music and dance. There are two dimension physiology and psychology and three key elements melody-line of dance, rhythm-dance rhythm and harmony-internal feeling of dance would be analyzed the influence and relationship. Then we talks about the meaning and concept of improvisation, to go a step further to observe the course dance technique, and collecting some wording to conclude the ways of self training improvisation. Finally, writer compared the difference and the origin in both ballet and modern dance, and presented the notation that searched and collected by researcher. Each notation was selected close to the quality of each dance action. It was also confirmed by veteran accompanist and feeling by dancers. The performance had obtained a good result and affirmation.