再谈《春之祭》——斯特拉文斯基的分层观、节拍的心理特征和非洲复合节奏

The Rite of Spring Briefly Revisited:Thoughts on Stravinsky’s Stratifications,the Psychology of Meter,and African Polyrhythm

《春之祭》中很多舞蹈音乐是分层化的,采用织体分层或复合节奏的结构,这是指由旋律片段和节奏型在不同循环组合与时间段内的重复而形成的纵向叠置。分层化属于纵向叠置中的一种形式,其在和声、音区和乐器配置上都是固定不变的,而使音乐产生活力的来源为:第一,非常规重音和某时间段内旋律片段与和弦的重复;第二,这些非常规组合的重复所产生的节拍错位与固定的律动及节拍之间的关系;第三,上述这种关系所造成的节拍中断或瓦解。文中还会从这种现象的身体反应出发,探寻身体与节奏同步的规律性。此外,也将讨论所谓“节奏同步”的认知、生物学含义及其衍变和这种分层化做法与非洲鼓乐《伽呼》(Gahu,西非南埃维流行的一种舞蹈)复合节奏织体之间的联系。

Many of the dance movements of The Rite are stratifications,layered or polyrhythmic structures in which there is a superimposition of melodic fragments and rhythmic patterns that repeat according to varying cycles or spans.Another form of superimposition,stratification is static in its harmonic,registral,and instrumental implications.And so the question is posed:what accounts for the vitality of The Rite,the ability of this music to excite?Dynamic qualities in The Rite include the irregular accents and spans that mark off the repeats of fragments and chords,the displacement of these irregularly spaced repeats in relation to a steady pulse and meter,and the disruptions of the meter that are in turn brought about by displacement.I trace the physical impact of this invention to entrainment,the internalization of meter.The cognitive and biological implications of entrainment are discussed,including the evolutionary ones.Stratification of the kind found in The Rite is without precedent in the art music of Russia and the West.I turn therefore to the polyrhythmic textures of African drumming,in particular,Gahu,a well-known dance of the Southern Ewe in West Africa.Made up of six layers of distinct rhythmic patterns,the cyclic,repetitive features of Gahu are useful as a means of setting both sides of this comparison in relief.I make reference here to the aesthetic and analytical commentary of Reich(1973),Locke(1987),and Agawu(2003).