Crystallized Form: a Study on the Contrapuntal Structure between Music and Dance in Stravinsky and Balanchine's "Agon"

• Main Authors: Yi-Fang Cheng, 鄭宜芳
• Other Authors: 施德玉
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/51155747347447555210

碩士 === 國立臺灣藝術大學 === 表演藝術研究所 === 99 === 　Music and dance, two types of art, display idea of works and innate feelings of human by different ways.　However, the common point is that these forms of music and dance both require the passing of time to be performed and realized. Besides, due to the analogies between music and dance, they work with each other more closely. Among the collaborations of composers and choreographers in the twentieth century, Igor Stravinsky and George Balanchine’s work are certainly the best models. Stravinsky and Balanchine had created many masterpieces of choreomusical works, such as Agon. 　The core concept of this study is that the relationship between music and dance should be a counterpoint rather than translation. Since music and dance are both independent and autonomic arts, the values of these works can be interpreted as the communication from works themselves. First, the aesthetic viewpoints and work characteristics shared by Stravinsky and Balanchine were discussed. Second, based on a textual analysis of Agon, assisted with a choreomusical analysis and “counterpoint” position, and incorporated with the viewpoint of the relationship between music and dance basic elements; we try to study the choreomusical interactions in Agon, indicate fineness, harmony and symmetry underneath this choreomusical architecture, and finally explain what is so-called “watching the music, hearing the dance”.