Zai "Chun zhi ji" zhong dui pai zi ji hao de 'qi man xing' ying yong

M.Phil.Rhythmic novelties in The Rite of Spring, Stravinsky’s epoch-making ballet of 1913, have for long challenged commentators to come up with different readings of the music. While theorists and musicologists have speculated on how Stravinsky conjured up novel rhythmic effects in The Rite of Spring, his ‘delusive’ use of the notated meters has thus far been overlooked. Pieter van den Toorn (1987) and Richard Taruskin (1996), for instance, had discussed how the juxtaposition of rhythmic blocks and the superimposition of rhythmic strands may be related to the metrical notations, though without touching on the ‘delusive’ nature of the notated meters. This study seeks to fill this gap and investigates how Stravinsky might have strategized the use of metrical notations in The Rite, particularly at points where they dissociate from the metric settings of the music. I argue that Stravinsky’s metrical notations exhibit ‘delusive’ features and do not necessarily convey the actual rhythmic design. The time signatures may contradict the metrical patterns of the ostinati or even visually complicate metrical settings that are regularized at higher structural levels. In addition, I contend that the traditional metrical notation may be inadequate to communicate passages of complex rhythmic organization.Among pertinent studies in the literature, Pieter van den Toorn’s postulated strategies of ‘first establishing [the tactus and metrical identity] and then disrupting’ and ‘concealed periodicity’, allegedly used by Stravinsky in The Rite of Spring, will be critically reviewed. Three different types of metric organization will be inspected, proceeding from the simpler one in which the time signature manifestly contradicts the ostinato. Passages with more complicated rhythmic structures, namely metrical dissonance, will then be investigated to illustrate how Stravinsky might have played with the incongruities between the printed meters and the intricate metrical settings of superimposed rhythmic layers. Passages that feature ‘concealed periodicity’ will finally be scrutinized to demonstrate how both changing and unchanging notated meters might have been employed even though they contradict high-level rhythmic organization in the music. This research demonstrates how a close reading of the notated meters against the aural meters in The Rite of Spring unveils an important facet of Stravinsky’s metric design, namely the ‘delusive’ feature exhibited by the printed meters, which adds significantly to our knowledge about the composer’s rhythmic language.斯特拉文斯基（Stravinsky 於 1913 年創作出劃時代的芭蕾舞劇《春之祭》，當中的新 穎 節奏長期以來一直引起評論家的興趣，並對其作出不同的解讀。雖然理論家和音樂學家們都在推測斯特拉文斯基是如何在《春之祭》中創造出奇特的節奏效果，但他在拍子記號上的 「 欺瞞 性 」 應用卻一直被忽視。 例如， Pietervan den Toorn (1987) and Richard Taruskin (1996) 曾討論節奏區塊的並置和節奏 線條的叠加如何與拍子記號有關，但卻沒有 觸 及拍子記號 的 「 欺瞞 性 」性質。本研究試圖填補這一空白，並研究 斯特拉文斯基在《春之祭》中如何策略性地使用拍子記號，尤其是在節拍記號與音樂拍子設置相脫 離的地方。 我認爲 斯特拉文斯基的拍子記號展現出 「 欺瞞 性 」的特徵，并不一定能夠傳遞實際的節奏設計。那拍子記號可能與固定音型的節拍模式相矛盾，甚至從視覺上複雜化那些位於較高結構層次、規律化的節奏 設置。此外，我認爲傳統的拍子記號可能不足以表達節奏組織複雜的段落。在相關的文獻研究中，由Pieter van den Toorn 提出，並聲稱曾被 斯特拉文斯基運用於《春之祭》之中的 兩個 假設，即：“先建立【拍子 觸 覺 和節拍特徵 】，然後再瓦解”策略，和“隱藏的周期性”，將會 從批判性的角度被重新審視。我們將對三種不同類型的節拍組織進行研究，並從較簡單的一種開始，當中可看到拍子記號明顯與 固定音型有所矛盾。接著會對在節奏上具有更複雜結構，即節拍不 和 諧 的段落進行研究，從而説明 斯特拉文斯基 如何處理拍子記號與複雜的叠加節奏設置之間的不協調。最後，我們會對那些具有“隱藏的周期性”特徵的段落進行仔細研究，從而證明持續轉變和固定的拍子記號的運用皆會與音樂中較高層的節奏結構相矛盾。這項研究表明，仔細對比 《春之祭》中的拍子記號和音感上的拍子便會發現斯特拉文斯基在節奏設計上的一個重要面向，即在拍子記號上所展現出的 「 欺瞞 性 」特 徵，這會大大增加我們對這位作曲家的節奏語言的了解。Lau, Koon Chung."December 2020."Thesis M.Phil. Chinese University of Hong Kong 2021.Includes bibliographical references (leaves 83-84).Abstracts also in Chinese.Title from PDF title page (viewed on March 16, 2022).Lau, Koon Chung