张惠玲，教授，香港中文大学音乐系主任，博士生导师。本科毕业于香港中文大学，研究生阶段求学于英国剑桥大学，师从Derrick Puffett，取得音乐哲学硕士及博士学位。张教授的学术研究涉及现代音乐理论与作品分析的诸多领域，对法国作曲家梅西安的音乐作品及其理论，八音体系，斯克里亚宾与斯特拉文斯基作品分析等研究成果尤丰，近年也对中国近现代和声理论的发展与实践方面进行深入研究。张教授的代表性著作发表于国际核心学术期刊，如Acta Musicologica, Journal of the Royal Musical Association, Music Analysis, Music and Letters, Perspectives of New Music等等，可于JSTOR及ProQuest检索。
CHEONG, Wai-Ling is Professor and Chair at the Music Department, The Chinese University of Hong Kong. She received the PhD from Cambridge University, where she studied with Derrick Puffett. Her research interests include Soviet and Central European music theory in China, the music of Scriabin and Stravinsky, octatonicism, and the music and theoretical writings of Olivier Messiaen. Her scholarly works have been published by Acta Musicologica, Journal of the Royal Musical Association, Music Analysis, Music and Letters, Perspectives of New Music, etc. Recent articles include ‘“Miroir Fluide”: Messiaen, Debussy and Cyrano’s “Synaesthetic” Bird’ published by Music and Letters in 2014, and “Reading Schoenberg, Hindemith, and Kurth in Sang Tong: Modernist Harmonic Approaches in China” published by Acta Musicologica in 2016.
梅西安的中国调式与十二音空间
Messiaen’s pentatonicism and twelve-tone space
奥利维尔·梅西安创新地以五声音阶注满西方音乐的十二音空间，充分体现了一种跨文化的融合。梅西安同时代的作曲家们大多借着五声音阶赋予作品远东色彩。德彪西、拉威尔、斯特拉文斯基、布里顿等是当时的代表者。梅西安似乎有意冲击一般认为五声音阶和十二音音乐分别代表民间音乐和高雅艺术这一看法。他另辟蹊径，带给五声音阶一个现代化的诠释。他曾在《节奏、色彩和鸟类学的论着》第六册（2001）中讨论“中国调式”，并在《论著》第七册（2002）中提及中国民间音乐中的五声音阶，但是从来没有在著作中透露他以五声音阶来建构十二音空间的处理。本文以梅西安通过五声音阶开创的十二音空间这一实验性手法为研究核心，对其结构及技法进行理论研究，并思考其与艺术文化発展潮流的关系。
This paper argues that a cross-cultural hybrid is conjured up by Olivier Messiaen (1908–92) in his innovative move to map out a twelve-tone space by engaging pentatonicism. Messiaen’s contemporaries had exploited pentatonicism emblematically to evoke far-eastern color. Debussy, Ravel, Stravinsky and Britten are outstanding examples. Yet Messiaen rebelled against the commonplace acceptance of the pentatonic and the twelve-tone as sonic representations of, respectively, folk and high art. He took a different course and gave pentatonicism a modernist twist, though his discussion of ‘les modes chinois’ in volume VI (2001) of Traite de rythme, de couleur, et d’ornithologie, and that of pentatonicism as manifest in the folklore of China in volume VII (2002) offer us no hint of his determination to go twelve-tone through the pentatonic. Messiaen’s proclamation of the pentatonic as typically Chinese in connotation also contrasts with our existing knowledge of the pentatonic sound as indigenous to the music of more disparate cultural and geographical regions. His music thus problematizes the variability of the pentatonic as a music-theoretical notion, and its multiplicity as a cultural heritage. This paper takes Messiaen’s experimental approaches to the pentatonicized twelve-tone space as the core, theorize the structural novelties, and radiate from it a study of artistic factors in order to gain insight into the technical and cultural ramifications concerned.
