蔡佳樺新音樂劇場作品發表會 含原創作品集與《韻·動》註釋文件

本論文為新音樂劇場音樂作品《韻·動》之輔助文件。作品以至上主義 (Suprematism) 時期俄羅斯畫家卡西米爾·謝韋里諾維奇·馬列維奇 (Kazimir Severinovich Malevich, 1879-1935 ) 創作於 1931 年的畫作《運動員》 (Sportsmen)，作為音樂創作的發想來源，探討圖形與音樂之間的關聯性。從顏色與音樂的聯覺至抽象圖形與音樂之轉化，將各種抽象圖形及色塊經由音樂的韻律再現運動的動態感。筆者將畫中幾何圖形與運動的關聯，轉化至樂曲架構、音高、節奏與音響變化等音樂元素中，把至上主義對於顏色及造型的純粹投射到音樂中，加上燈光與肢體的表演，呈現跨領域多元風格的新音樂劇場作品。本論文共分為四章，第一章為緒論;第二章為創作動機及作品概述;第三章為《韻·動》新音樂劇場作品之架構分析，並詳述作品音樂與幾何圖形延伸至運動的想法與運用，以及動作符號設計與舞台設計;第四章為本論文之結語。

關鍵字

幾何圖形；運動；新音樂劇場；音樂與圖畫；至上主義；聯覺

並列摘要

This thesis is the supplementary document of the new music theatre composition “Tune and Motion”. “Sportsmen”, an important painting by Kazimir Severinovich Malevich (1879-1935) during the Suprematism period, was the inspiration of the music composition in which the author explored the relation between graphics and music. From the synesthesia of color and music to the transformation of abstract graphics into music, the association with the sport was demonstrated in diverse musical elements based on various geometric forms and color blocks. The author tranfers the relation between geometry and motion of the painting to musical contexts such as structures, pitches, rhythms and timbre varieties. The purity of color and form in Suprematism is projected into the music, coupled with the performance of the light and the human body, presenting a polynary, interdisciplinary new music theatre work. This thesis consists of four chapters. Chapter One is the preface. Chapter Two presents the background and ideas of this composition and introduces some related compositions. Chapter Three is the compositional analysis of “Tune and Motion”, detailing the ideas and applications of the music and geometric figures extending to the movement. Chapter Four is the conclusion of thesis.