أثر بنية التوافق للمؤثرات الموسيقية بين المتلقي والمخرج

Abstract

The research consists of four chapters. It includes the first chapter which contains the Methodological framework of the research. The research problem stationed in the following question: What is the consensus in the musical effects between the recipient and director. While the importance of the research consisted in defining the concept of compatibility for musical stimuli and determine the nature of exchange and harmony between them and between the recipient and director in theatrical show. As for the aim of the research, the research aims to detect the effect of compatibility structure for musical influences between the recipient and director. Whereas research limits, the research was limited to students of fourth stage (year 4) / Theatrical arts department/ College of fine arts/ Babylon University. Their numbers are twenty (20) students (male and female) for the school year 2016 to 2017. The chapter had been concluded defines the terminology and definition. While chapter two includes three sections. The first section is about the musical effects in the theatre, the second section is about receive concept, expectation distance. The third section is the director relationship with the musical effects in the theatrical show. Then the chapter is concluded with the indicators resulting from the theoretical framework. Whereas chapter three involves the research procedures from its community which consist of the Fine Arts College students/ Babylon University/ theatrical arts department including all branches/ year 4. The researcher chose 20 students between male and female as a research sample which has been used in a simple random way. The researcher depended on the measurement tool form in her instrument which was distributed to the experts. Chapter four displays the results and its discussions and also the conclusions reached by the researcher. In the first model, the first paragraph is coincidence (the actor with music) by (62%) where the movement, rhythm, harmony, interconnection, cohesion, and expression came, close to the actor’s movement but a few. Because of not hearing to music in advance and their incompatibility with the scenes of gestural movement in a high rate. While the second model, the first paragraph is coincidence by 41%. This is because that the music was quiet and heavy, it did not correspond with the actor’s movements. In the third model there is a compatible between music and movement by 84% because it formed an escalating conflict with the event. Finally, the chapter has been concluded with some recommendations and proposals.