摘要
拉丁文Hemiola是指將音樂律動由三拍變二拍，或二拍變三拍。眾所周知，布拉姆斯最常運用Hemiola 作曲，最著名的例子是《第三號交響曲》〈第一樂章〉的第一主題，將三拍變為二拍，使音樂產生緊湊感，這是一種有趣的節奏變化；他的二十四首德文藝術歌曲也有這種變化，值得深入探討。 研究布拉姆斯的Hemiola歌曲，歸納出以下結論：有不改拍號與改拍號兩種；二拍變三拍很少，大多數是三變二；Hemiola 的小節數量大都是一至四小節，少有超過十小節；張力上，二變三有鬆弛感，三變二有緊湊感；大部份歌曲轉回原節奏結束。在作曲技巧上，Hemiola 可以加長音型的時值，可以拉長樂句，可以使結尾與樂句漸慢，可以產生繁複的重音，可以調整歌詞的格律，可以創造較長時值的音符，可以改變強拍位置。 運用Hemiola，除了產生對比之外，還有轉折的效果，並且能夠創造情境。作曲家將原有的律動加以裁剪、延伸、變型，以便加強或減弱表現力，利用音樂貼切地詮釋歌詞內容。布拉姆斯運用Hemiola 的技巧少有出其右者，應可謂古今第一大家。
並列摘要
Hemiola in Latin means musical rhythm turns from three beats to two beats or two beats to three beats. As we are aware that Johannes Brahms often adopted Hemiola in composing and his most known demonstration using that technique is ”Symphony No.3”. In the first theme of the first movement, he turns three beats into two beats, which provide intense feelings and interesting change of rhythm to the music; same change in his 24 pieces of German art songs worth discussing. After studying Brahms' Hemiola songs, I summarize these results: there are two kinds with or without changes in time signature; rare turning two beats into three beats and most of them turn three to two. Hemiola's amount of musical bars are mostly one to four bars, rarely of them exceed ten bars. As far as its tension, two to three presents sense of relaxing and three to two supplies sense of intensifying; most of songs end to original tempo. Regarding composing techniques, musical note's time value can be prolonged to extend musical sentence, or can slow down at the end, or can repeat emphasized note, or can rearrange rhythm of lyrics, or can create musical notes with longer time value, or can change location of strong beats. Using Hemiola, except for creating contrast, it also brings transitional effect and build atmosphere. Composer rearrange, extend, transform its original rhythm in order to enhance or alleviate its performance that better interpret its lyrics content. Brahms should be the best and unparalleled master using Hemiola technique.