尼采与《特里斯坦与伊索尔德》中的古希腊节奏(下)  

Ancient Greek Rhythms in Tristan and Nietzsche(Cont.)

作　　者：张惠玲 ZHANG Huiling

机构地区：[1]不详

出　　处：《中央音乐学院学报》2024年第3期33-45,69,共14页Journal of The Central Conservatory of Music

摘　　要：七、“渴望”动机的变形:扬抑抑扬格与扬抑扬抑格(对称/非对称)无论“渴望”动机的变形是否用了扬抑抑扬格(choriamb,长-短-短-长)或扬抑扬抑格(ditrochee,长-短-长-短),它们很少具有古希腊节奏中典型的2∶1比例,并且长与短的比例经常是相对的而非绝对的。还有一种情况是,“渴望”动机变形的前后两部分分别使用了不同的长短比例,因此呈现出不对称,而非对称的形态。更具体地说,在前半部分的构成音中加入相同的短时值音符使得扬抑抑扬格或扬抑扬抑格中的后半部分在谱面上表现出“渐慢”的效果。(1)以下的例子将阐述统一的原则是怎样作用于这些不同变形中的。In 1869,the 24-year-old Friedrich Nietzsche landed a professorship in Classical Philology at the University of Basel,even before he completed his doctoral dissertation.During his brief tenure,Nietzsche conducted meticulous textual criticism and uncovered problems in the work of nineteenth-century Central Europe's foremost authorities on ancient Greek rhythm.In the notebooks on his teaching and research of ancient Greek rhythm(not published until 1993;four volumes),Nietzsche intimated that Wagner had incorporated ancient Greek rhythm into Tristan and Isolde,although he did not elaborate on how he understood it.Inspired by Nietzsche's detailed analysis of Act 3,Scene 2 of Tristan and Isolde in his notebook,I argue with recourse to in-depth music analyses how Wagner might have skilfully harnessed ancient Greek rhythm within the constraints of modern music notation and metrical systems.

关 键 词：抑抑扬格 对称/非对称 动机 古希腊 长与短 节奏 

分 类 号：J613.7[艺术—音乐] J614J617.2