中央音乐学院音乐论坛讲座学者及音乐会介绍

　　张惠玲 教授 Prof. Cheong Wai Ling

　　学术报告时间：11月12日 17:00—18:00 地点：501

　　Lecture 12th Nov. 17:00—18:00 Location: 501

　　出生于香港特别行政区。大学本部毕业于香港中文大学音乐系，并于日本京都大学取得日本研究文凭。音乐研究院课程在英国剑桥大学修读，师从Derrick Puffett，取得哲学硕士及哲学博士学位。现任香港中文大学音乐系教授，研究学部主任，博士生导师。研究方向为现代音乐理论及分析，最近的核心研究项目为二十世纪法国作曲家梅西安的作品及其理论。2001–2004年指导郑中的博士论文《梅西安钢琴作品研究》（人民音乐出版社），2005年获中国首届西方音乐学会博士论文一等奖，2007年获首届金钟奖音乐理论评论铜奖。学术研究屡获香港特别行政区UGC研究费及直接拨款。

　　研究和教学殊荣：

　　 CUHK Research Excellence Award (2007–08)

　　 Innovative Teaching Award (2000)

　　 Vice-Chancellor’s Exemplary Teaching Award, nominee (2003; 2007; 2009)

　　代表性著作：

　　 《节奏、色彩和鸟类学的论著 — 梅西安的音乐》 (Shanghai: Shanghai Conservatory of Music Press, 2010).

　　 ‘Neumes and Greek Rhythms: The Breakthrough in Messiaen’s Birdsong’, Acta Musicologica, Vol. 80, No. 1 (2008), pp. 1–32.

　　 ‘Symmetrical Permutation, the Twelve Tones and Messiaen’s Catalogue d’oiseaux’, Perspectives of New Music, Vol. 45, No. 1 (2007), pp. 110–136.

　　 ‘Rediscovering Messiaen’s Invented Chords’, Acta Musicologica, Vol. 75, No. 1 (2003), pp. 85–105.

　　 ‘Messiaen’s Triadic Colouration: Modes as Interversion’, Music Analysis, Vol. 21, No. 1 (2002), pp. 53–84.

　　 ‘Scriabin’s Octatonic Sonata’, Journal of the Royal Musical Association, Vol. 121, No. 2 (1996), pp. 206–228.

　　 ‘Orthography in Scriabin’s Late Works’, Music Analysis, Vol. 12, No. 1 (1993), pp. 47–68.

　　Cheong Wai Ling graduated from the Chinese University of Hong Kong majoring in music. She received a diploma in Japanese studies from the University of Kyoto before pursuing postgraduate music studies and obtained MPhil and PhD from the University of Cambridge under the supervision of Derrick Puffett. She is currently Professor and Head of Graduate Division at the Music Department of The Chinese University of Hong Kong. Her scholarly works on music composed in the twentieth century and, more specifically, the music and theoretical writings of Olivier Messiaen have been awarded the RGC Competitive Earmarked Research Grants (General Research Funds) and the UGC Direct Grants for Research. In 2005 her PhD student Zheng Zhong’s dissertation, ‘A Study of Olivier Messiaen’s Solo Piano Works’, was awarded the first prize (the best PhD dissertation) by The Society for Western Music in China.

　　Research and Teaching Awards

　　 CUHK Research Excellence Award (2007–08)

　　 Innovative Teaching Award (2000)

　　 Vice-Chancellor’s Exemplary Teaching Award, nominee (2003; 2007; 2009)

　　Representative Publications

　　 《节奏、色彩和鸟类学的论着 — 梅西安的音乐》 (Shanghai: Shanghai Conservatory of Music Press, 2010).

　　 ‘Neumes and Greek Rhythms: The Breakthrough in Messiaen’s Birdsong’, Acta Musicologica, Vol. 80, No. 1 (2008), pp. 1–32.

　　 ‘Symmetrical Permutation, the Twelve Tones and Messiaen’s Catalogue d’oiseaux’, Perspectives of New Music, Vol. 45, No. 1 (2007), pp. 110–136.

　　 ‘Rediscovering Messiaen’s Invented Chords’, Acta Musicologica, Vol. 75, No. 1 (2003), pp. 85–105.

　　 ‘Messiaen’s Triadic Colouration: Modes as Interversion’, Music Analysis, Vol. 21, No. 1 (2002), pp. 53–84.

　　 ‘Scriabin’s Octatonic Sonata’, Journal of the Royal Musical Association, Vol. 121, No. 2 (1996), pp. 206–228.

　　 ‘Orthography in Scriabin’s Late Works’, Music Analysis, Vol. 12, No. 1 (1993), pp. 47–68.

　　 RGC Competitive Earmarked Research Grants (General Research Funds)

　　 ‘The Musician, Theologian and Synaesthete in Olivier Messiaen’ (2011–13)

　　 ‘Birdsong in Messiaen’s Music and Prose’ (2007–10)

　　 ‘The Interaction and Evolution of the Music and Treatises of Olivier Messiaen’ (2003–06)

　　讲座题目：节奏的重生：梅西安与布列兹对《春之祭》的分析

　　提要：

　　1913年5月29日香榭丽舍剧院首演《春之祭》引起的骚乱已接近百年了，这个舞剧也在骚乱过后迅即成为二十世纪最具影响的音乐作品之一。二十世纪中叶，梅西安和布列兹这两位具有远见的音乐家，都尝试以节奏这个角度来解读《春之祭》中的“奥秘”。早在二战巴黎被占领的艰难岁月里，梅西安己经在私人授课时，跟巴黎音乐学院的学生分享了研究《春之祭》的心得。

　　不过，梅西安精辟的分析，长久以来只闻其名而未见其实，经过半个多世纪，他分析的要点只是在学生之间流传。相反，梅西安的学生布列兹在1951年发表了相关的文章《Stravinsky Remains》，成为《春之祭》研究中不可或缺的文献。布列兹的文章对《春之祭》的分析明显沿用了梅西安的观点，尽管布列兹本人并没有提到这一点。本文不拟厘清这个历史问题，而是希望通比较分析，说明两人分析同异的要素。

　　梅西安对《春之祭》的分析一直欠缺正式的文本记录，因而难与布列兹的分析进行比较分析。幸而梅西安的遗孀Yvonne Loriod女士在梅西安逝世后努力不懈，将他篇幅浩瀚的手稿整理成书，并以《节奏、色彩，及鸟类学的论著》为总题陆续出版，其中第二册在1995年出版，就包括了梅西安对《春之祭》详细的分析。本文以梅西安《春之祭》分析的汉语翻译工作为基础，对布列兹的分析进行对比研究，试图探求这两位作曲家和论理家如何通过不同的视角来深度诠释这个划时代的作品。

　　Topic: The Rite of Spring: Rhythmic Rebirth as Delivered by Messiaen and Boulez

　　Abstract:

　　Nearly a century has passed since The Rite of Spring provoked a riot at the Théâtre des Champs-Élysées on 29 May 1913 and, perhaps ironically, harvested an immediate and captivating success from the Parisian audience. Some of the best minds of our times, Messiaen and Boulez foremost among them, attempted to unravel the “secrets” of The Rite of Spring, with rhythm prioritized as their main concern. Even before the WWII ends, during the difficult years of the Occupation, Messiaen had already shared his pioneering study of The Rite of Spring at a private analysis class with his star students from the Paris Conservatoire. It was at an early stage of Messiaen’s teaching career and students who attended the Paris Conservatoire in later years also benefited from the same teaching.

　　Messiaen’s insightful analysis of The Rite of Spring is often praised in a vacuum. For a very long time the details of Messiaen’s analysis are known only rather exclusively to his students. In 1951 Boulez published what became one of his best known analyses. In “Stravinsky Remains” appeared Boulez’s exegesis of The Rite of Spring, one that left an indelible imprint on the reception history of the masterpiece. While there are concrete proofs that Boulez drew on Messiaen’s ideas without acknowledging them, my emphasis is not about Boulez’s ungrateful act. Rather, I am interested in bringing to light factors that might have contributed to Messiaen’s and Boulez’s different and yet equally fascinating analyses of The Rite of Spring.

　　The lack of any formal documentation of Messiaen’s analysis has so far hindered us from conducting a comparative study of these two analyses. Thanks to the dedicated efforts of Yvonne Loriod, who in her widowed years worked tirelessly on an inordinate amount of manuscripts, Messiaen’s analysis of The Rite of Spring has at last seen the day of light. In 1995, three years after the death of Messiaen, Leduc Alphonse published the second volume of his Traité de rythme, de couleur, et d’ornithologie, chapter III of which contains Messiaen’s extended analysis of The Rite of Spring. This paper stems from an ongoing project which aims at producing an accurate and nuanced Chinese translation of Messiaen’s analysis of The Rite of Spring. While working on the translation, I revisited Boulez’s “Stravinsky remains” and set the two analyses against one another. The result is a fruitful comparison of how two leading composer-analysts at once converge and diverge in their perceptive readings of an epoch-marking work, being driven by factors, musical or otherwise, that led their analytical studies to their logical ends.