Newsletter No. 390

10 No. 390, 4.1.2012 …… 如是说 Thus Spake… 麦淑贤教授在多伦多大学取得英国文学及音乐双主修文 学士学位,在纽约城市大学皇后书院修读音乐学,获颁 文学硕士学位,后在罗彻斯特大学伊思曼音乐学院取得 音乐学和音乐理论哲学博士双学位。她以跨学科的手 法钻研音乐,探讨调性音乐的结构与表达之间的关系, 其研究范畴包括辛克分析法、文本与音乐的关系、音乐 符号学和音乐理论史。她在2008年获美国音乐理论学 会颁授新晋学者奖。 Professor Suyin Mak holds a BA in English Literature and Music from the University of Toronto, an MA in Musicology from Queens College, City University of New York, and a double PhD in Musicology and Music Theory from the Eastman School of Music, University of Rochester. Her approach to musical scholarship is interdisciplinary in nature, and explores the relationship between musical structure and expression in tonal music. Research areas include Schenkerian analysis, text- music relations, musical semiotics, and the history of music theory. She is recipient of the 2008 Emerging Scholar Award from the Society for Music Theory. Resonance —For Yank One evening Someone told me About the somebodies and somethings that he knew His memories trickled, from the ceiling Along flowering vines of fire So the cracker crumbs from 28 Arriaga Street Made their way into my ears And swirled within me with the flow of wine Before I echoed them in resonance To lend his firecracker flowers A tinge of colour from another language 麦淑贤教授诗作 A poem by Prof. Mak Su-yin 回音 —致仁逵兄 某夜 某某在他的屋里 说着他曾认识的某某和某某 他的记忆 沿着爬满炮仗花的铁线 从天花板点滴而下 阿里鸦架街二十八号的梳打饼屑 便也钻入我的耳朵去了 顺着酒意 在心中流转数遍 方成口中的回音 为他的炮仗花 染上别一种语言的颜色 你拥有音乐及文学的文学士学位,其后是什么令你决定专 研音乐而非文学? 所谓「琴为心曲」,音乐常被喻为发乎自然的情感抒发,但 同时也是最工于技法的表达模式。我所指的是,音乐固能 直接、精确地激发听者具体的情绪或肢体反应,但至于为 何会有这样的效果,我们却往往只知其然而不知其所以然。 一般人(包括我自己)惯以文字描述、传达和建立对世界的 理解和认知,但音乐却是本质相异的语言,它是怎样运作的 呢?我还是学生的时候,因为想探索个中的奥秘,所以便跑 去念音乐了。时至今日,这点好奇心仍是我研究的动力。 为什么对舒曼和舒伯特这样有兴趣?尤其是后者,你甚至写 了一本以舒伯特抒情主义的再思为题的书。 一般人听说我是研究舒伯特的学者,都会以为我研究的是 其声乐组曲。事实上 Schubert ’ s Lyricism Reconsidered 一书谈的是他的器乐作品。该书的前提是:舒伯特晚期器 乐作品中的非传统曲式设计及调性布局源于理想主义美学 对语言的构想,尤以对「抒情」的解读为然。作曲家在大型 器乐曲内大量采用了抒情诗歌内典型的并置及排比语法模 式,可说是为当代的音乐及文学创作提供了一种崭新的技 法联系,既承袭了莫札特和贝多芬的古典作曲传统,亦参照 了他和友人共享的文学认知。舒伯特在两者之间游走自如, 从而开创了新颖而独特的器乐形式。 可以谈一下你的创作吗? 我写诗,是双语对照的,也曾翻译友人的文学作品(如 画家黄仁逵的散文英译本,将于《译丛》发表)。2011年 2月在第三十九届香港艺术节首演的原创英语室内歌剧 《年轮曲》,是我与作曲家邓乐妍(中大音乐博士毕业生) 合作的,由我负责剧本和歌词。 你是一位多才多艺、兴趣广泛的女士,余暇喜欢做什么? 创意写作和文学翻译,看很多表演(不限于古典音乐会,也 有戏剧、舞蹈等),看电影、画展,参与诗歌诵读会、新书发 布会、诸般艺文活动……,真是附庸风雅,无药可救。不过, 我也喜欢到健身室去。 来生你会想做什么? 我想好像中国文学研究家和作家钱钟书那样,学贯中西而 举重若轻,更能兼顾学术研究和文学创作。但当然,他在文 化大革命中所受的苦难便可免了。退休后,我希望可修一些 中文系的课,譬如说,学习怎样写旧体诗。 You have a BA in music and literature. What was it that made you decide to specialize in music and not literature? Music is at once a metaphor for natural expression and the source of the greatest linguistic artifice. By this I mean that music is able to prompt immediate, specific emotional or physical responses in listeners, but how it does so seems mysterious. Music communicates in a way that is fundamentally different from verbal language, which is how most people (including myself) describe, conceptualize or communicate our understanding of the world. When I was a student, I was drawn to studying music because I wanted to gain a better understanding of how this mysterious language works; and even to this day, commitment to a sense of mystery continues to motivate my study of music. Why are you interested in Schumann and Schubert, in particular Schubert on whom you’ve written a book Schubert’s Lyricism Reconsidered ? When most people hear that I am a Schubert scholar they assume I work on the song cycles, but actually Schubert’s Lyricism Reconsidered is a book about Schubert’s instrumental music. The premise of the book is that the unorthodox features of Schubert’s late instrumental style reflect the linguistic conceptions of idealist aesthetics, and bear strong resemblance to the discursive strategies typical of lyric poetry. Schubert’s artistic sensibility was informed by two parallel but separate traditions, the compositional tradition he inherited from Mozart and Beethoven, and the literary tradition he shared with his circle of friends. Schubert moved amphibiously between them, and in so doing forged a novel and unique approach to instrumental form. Could you tell us about your creative work? I write bilingual poetry, and have also translated the literary writings of my friends. (My translation of several pieces by the painter Wong Yan-kwai’s will appear in Renditions .) Last year, I collaborated with composer Tang Lok-yin (CUHK DMus graduate) in A Tree Rhapsody , an original English-language chamber opera that was premiered at the 39th Hong Kong International Arts Festival in February 2011. I was the playwright and librettist. You’re a woman of many interests and talents. What do you like to do in your free time? Creative writing and literary translations, attending lots of performances (not only classical music concerts, but also theatre and dance), films, poetry readings, book launches, art openings… I am irreparably arty. But I also like going to the gym. Who would you like to be or what would you like to do in your next life? I want to be like Qian Zhongshu, Chinese literary scholar and writer, minus the Cultural Revolution suffering of course. I admire people who have mastery of both Chinese and Western learning. Qian was equally at ease in Chinese and Western cultures, and accomplished both in scholarship and creative writing. When I retire, I would want to take courses in the Department of Chinese and learn, for example, how to write Chinese classical poetry. Prof. Mak Su-yin, Vice-Chair of the Department of Music 音乐系副系主任 麦淑贤教授

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