安達盧西亞音樂和阿拉伯音樂有什麼關係？
公元718年之前伊比利亞大部由摩爾人佔領，10世紀初安達盧西亞仍然大部在倭馬亞王朝統治下，直到1492年阿拉伯人國家才退出伊比利亞半島。
因此安達盧西亞的文化背景是在西歐世界充滿東方色彩的。
安達盧西亞的古典音樂在廣義上等同於伊斯蘭音樂
好想回答這個問題~然而正在趕論文，精力不足...我先快速地打個草稿吧~首先「安達盧西亞」這個詞語可能指代這兩個地區：1. 阿拉伯語的Al-Andalus，指代穆斯林所統治的伊比利亞半島部分。這個地區的大小隨著穆斯林的統治範圍的變動而時有變動。其最大範圍包括現在的葡萄牙全境，以及西班牙的絕大部分（除了北邊的Asturias以外的所有地區）2. 西班牙語里的Andalucía，指代的是西班牙最南部的一個大區。
穆斯林對伊比利亞半島的統治總體來說是逐漸縮小的（參考「收復失地運動/Reconquista」，粗略來說可以分成這幾個時期：
1. 統一時期（約756-1031），伊比利亞大部分為阿拉伯倭馬亞帝國所佔領2. 泰法時期（約1009-1287），中央集權基本階梯，Al-Andalus分裂為許多泰法（Taifa，阿語里指較小的政權實體）3. 格拉納達王朝（約1238-1492），各個Taifa相繼滅亡，只剩下納斯瑞德王朝統治者如今Andalucía大區的大部分。1492年末代君主向北邊基督教王國頭像並逃到北非，穆斯林對伊比利亞的統治到此為止。4. 莫里斯科時期（1492-1609）。此時已無穆斯林政權，但仍有許多阿拉伯與北非穆斯林的後裔（被稱為莫里斯科人，Morisco）居住在伊比利亞，直到1609年因為叛亂且被鎮壓而被驅逐回北非或強制改宗。（地圖與細節待補充）簡單來說，可以知道的是伊比利亞越靠南邊，其音樂文化受到伊斯蘭文化區音樂便影響越大，「異國情調」便越明顯。直到浪漫主義時期，「西班牙音樂」或「安達盧西亞音樂」依然是西歐作曲家喜歡仿效的一種風格~Generally speaking, the Modern Era viewed the music of Al-Andalus and the music of the Alhambra from the European perspective of Orientalism and Exoticism, as a mythical source of inspiration in an Orient invented by Europeans. In the early contemporary period, with the influence of Napoleon"s Egyptian campaigns, a more scientific and research-based approach began to develop and look at the Arab world in a new way. Considerable controversy arose in relation to the influence that Andalusi? poetry and music may have had on European creation and many publications addressed this topic, especially between 1920 and 1950, with the participation of Julia?n Rivera, Higinio Angle?s, Ramo?n Mene?ndez Pidal, Nikl and many others. Works focusing on folklore, first, and on ethnomusicology, musicology and musical anthropology later, would address a series of issues, still not concluded, ranging from musical transcriptions, history, musical analysis, contextualization, symbolism, structures, musical iconography, organology, etc.
Principal poetic-musical forms.
The most important poetic-musical forms created by the culture of al-Andalus, specifically the Caliphate of Co?rdoba, and maintained by the Nasrid Kingdom were: muwas?s?ah?as, zajals and nu?bas.
Muwas?s?ah?a.Short, sequential poetic-musical compositions created in the Al-Andalus school. Their invention is attributed to Muqaddam ibn Mu`afa? el-Qabri? and dated to the end of the 9th century. These works had six parts that rhymed with each other, called qufl, and five parts called bayt, which did not need to rhyme. Their meter was usually: AA bbbAA cccAA dddAA eeeAA fffAAA (Jarcha). They could vary somewhat from this scheme, and sometimes the initial qufl was missing, in which case it was called a bald or headless muwas?s?ah?a (aqra"). The last qufl, known as the jarcha (exit, close) could be in vernacular Arabic, or in Old Spanish, unlike the rest of the muwas?s?ah?a, which was in Classical Arabic. The jarcha generally consists of four lines in quartet form, with only the even-numbered lines rhyming; there are also isosyllabic distichs and tristichs. Less frequent are stanzas with five, six, seven or eight lines. Generally speaking, according to Sola?-Sole and others, the rhyme is imperfect consonance, although some authors, such as R. Balbi?n or Garci?a Go?mez, describe it as assonance. The lines of the jarchas in Old Spanish are mostly stressed in the penultimate syllable, which works very well with reciting and singing. The jarchas are an expression of sociological factors, the co-existence of different cultures and languages, aesthetic factors and also ideological factors, and of popular culture"s intrusion in classical and courtly spheres.
The muwas?s?ah?as are still heard in Islamic countries as living musical forms, inspiring new compositions, and in the repertoire of performers, although they have adopted the respective dialectical languages. Four types of repertoires can be distinguished: the Arabic muwas?s?ah?as with jarchas in Old Spanish created in Al-Andalus; the muwas?s?ah?as of the Hebrew-Hispanic tradition preserved in the well- known Cairo Genizah; the muwas?s?ah?as conserved and evolved in North Africa; and the repertoires of the Near East.
Zajal. In its simplest poetic mode, a zajal is a monorhyme tryptich with refrain, with a fourth line that rhymes the same as the refrain, written in vernacular Arabic (Spanish-Arabic dialect). In its musical form it was sung alternation between a chorus and a soloist, the rhyming fourth line indicating the entrance of the chorus. It was a short, sequential structure. The most important figure in this genre was Ibn Quzma?n (+ 1160), and also worth mentioning are the Granada-native al-S?us?tari? (+ 1269), Ibn al-Jat?i?b (+ 1374) and Ibn Zamrak (+ 1393), among others. The zajal was well known beyond the borders of Al-Andalus, in the Muslim world and in medieval Europe, especially in the early stage of troubadour lyric poetry, and in some Cantigas a Santa Mari?a written during the reign of Alfonso X "The Wise", according to R. Mene?ndez Pidal. The fact that they were written in the Andalusi? dialect of Arabic has been of great importance in the study of Arabic dialectology and in historical Spanish linguistics. This topic, a polemic one, has generated considerable bibliography reflecting various perspectives, from diffusionist thought to historical, linguistic and structuralist thought, among others.
Nu?ba. This form has a long structure. Generally speaking, it consists of an instrumental prelude –which hints at the various themes that will appear later in the nu?ba–, different sung fragments and instrumental interludes, and a further element of coherence such as rhyme. The speed gradually shifts from largo at the beginning to prestissimo at the end. The origin of the nu?ba is traditionally linked to the figure of Zirya?b. The current form, which is conserved to this day in North Africa, mainly comes from the Late Middle Ages and the Nasrid period, although over the course of time melodic fragments and poems from an earlier time have also been inserted. Abu? `Abd Alla?h Muammad ibn al-Asan al-H?a? ?ik, who lived in Tetuan, Morocco, in the 18th century, made a compilation of nu?bas in 1799, known as: May?mu?`at al-H?a? ?ik.
The musicologist Mahmoud Guettat considers these forms to be typical of North Africa and the Western Mediterranean, with influences from the music of Al-Andalus –in some places these were the major influences–, but also having elements of Bedouin, Berber, Turkish, Oriental and autochthonous music. The names used for it are ma?lu?f (which means "traditional") in Libia, Tunisia and in the region of Constantine; s?an`a (art work) in Algeria, and a?la?t (instruments) or t?arab (emotion) in Morocco. The nu?bas of the Maghreb have had a series of compilations over the course of their history, as theoretical and narrative works. In the Middle Ages there was also the Eastern nu?ba, differentiated from the Western one, although the term nu?ba was replaced by was?la in the Near East and by fa?s?il in Turkey.
The poetic structures most often used are the qas?i?da, muwas?s?ah?a and zajal. In the Maghreb there are also popular and religious nu?bas that are usually given the name of the Wali? (pious man) to whom they are dedicated. The Jews of North Africa also have a repertoire of nu?bas of Andalusi? origin.
Religious music. In Islam no rules categorically prohibit or allow singing, music and dance. As a result, in the Middle Ages heated debates arose on this subject between different legal and intellectual schools of thought. Both sides have used as arguments passages from the Koran, from the sunna and adi? (collection of the sayings and deeds of Muhammad), and from the traditions and examples of holy men.
l. Music in the mosque. Recitation of the Koran. The reciters of the Koran, who are called qurra? ?, have been highly esteemed since the beginning of Islam. The art of tay?wi?d, elocution, has developed around this recitation. There are three types of tay?i?d: recitation that is slow, tarti?l, medium, tadwi?r or fast h?adr. Starting with the general principle that each consonant must be heard with its full phonetic value, but without exaggeration or effort in the diction, there are also meticulous rules and particular cases involving encounters of sounds, assimilations, contractions, etc. Recitations with different tones, rhythms, pauses, nasalizations, melodic nuances, special pronunciation of vowels and consonants. Normally, an ordinary muqri ?, reciter, has learned the melodies since childhood and they are quite free, as long as all the sounds of the text remain intact and audible. In this way they are different from the masters, as they combine an exquisite diction with very difficult variations in melody and tone, matching the meaning of the text, which is foremost at all times. When these qurra? ? declaim before a large group, the listeners sigh and during the pauses they exclaim: ya? rabbi?, ya? Alla?h.
Ada?n. Call to prayer. Day and night, at fixed times, from the height of the minarets, people all around hear the al-ada?n, the call to prayer made by the muezzin, mu`addin, exalting the oneness and the glory of Allah, blessing the memory of Muhammad, and with simple melodic recitations, inviting believers to pray. To hold the position of muezzin blind people were often given preference because they, from atop the minarets, were not able to see inside the courtyards and terraces.
2. The s?u?fi? music or music of the mystical brotherhoods. Asceticism and mysticism have been present since the beginning of Islam, both at the individual level and in groups of select persons. During the tumultuous period of the sely?uqi?es, in the 12th century, it took the form of an organized movement on a large scale and became a naturalized element of the orthodoxy. The mystic and philosopher al-Gazza?li? (Algazel) (1058-1111) recommended the use of music as a means to achieve piousness and the ascension of the soul to the supreme truth: `Ala?. This is how the t?ari?qa (plural t?uruq), which means path, road, and by extension: brotherhood, fraternity, association of dervishes, came into existence. Especially important were the so-called riba?t?, or fortified residences, that were devoted to spreading Islam in the lands of infidels; or the za?wiya, cenobite, the residence of an anchorite or the tomb of a marabout, and by extension, any place where the dervishes have their gatherings. In the Nasrid Kingdom of Granada, a variety of Sufi and mystic practices took place, albeit in a discreet and extra-official manner, even in courtly contexts.
Alcaide of minstrels.6 With regard to musical institutions, the Alcaide de juglaras e juglares is of interest. In the Simancas Archives (Registro General del Sello, 13 February 1492, Granada, folio 18) there is a letter called a "Carta de merced" about the alcaide of minstrels of Granada, in favour of Ayaya Fisteli. This institution represented a continuation of the earlier tradition of alcaide, a governor named by the Moorish rulers who had functions in the areas of jurisdiction, control and finances, and was in charge of collecting the "tarco?n" tax that had to be paid for zambras and leilas. (In the Morisco period Ayaya Fisteli was named Fernando Morales el Fisteli).
Morisco period. The music of Al-Andalus in the Morisco era (1492-1609) can be divided into three periods.
During the first period, 1492-1529, an attempt was made at musical coexistence and the juxtaposition of the Christian and Morisco cultures. The tolerant policies of the Archbishop Hernando de Talavera made it possible for the Moriscos" zambras to be integrated, even participating in the Corpus Christi procession.
The second period, 1530- 1565, was characterized by resentment and internal tension. The Archbishop of Granada, Gaspar de A?valos, prohibited the zambras and Queen Isabella of Portugal –the wife of Emperor Charles V– would intervene on behalf of the music of the Moriscos.
The third period, 1566-1609, was one acculturation and marginality, in which the popular traditions of the Nasrid Kingdom of Granada were replaced by popular Christian music and traditions and the West becomes predominant. In 1566 the Inquisitor General Diego de Espinosa prepared an edict with Philip II in Madrid, in which, among other provisions, the music and musical instruments of the Moriscos were prohibited. Francisco Nu?n?ez Muley, the statesman of greatest prestige among the Moriscos, prepared a memorandum in defence of the customs and music of the Moriscos and he presented it to Pedro de Deza. However, on 1 January 1567 Pedro de Deza, the president of the Audiencia de Granada, put the edict into effect. In 1568 the Moriscos of the Albaicin rebelled, and the conflict soon extended to the nearby Alpujarra mountains, under the leadership of Fernando de Valor (Aben Humeya). In 1570 troops of Don John of Austria took control of the situation and the Moriscos were expelled from Spain in 1609.
The music of al-Andalus and the Nasrid Kingdom of Granada, called Garnāt·ī, has been conserved, thanks to oral traditions, in the countries of the Near East, primarily repertoires ofmuwas?s?ah?as; and also in North Africa (Morocco, Algeria and Tunisia), especially the nu?bas of Al-Andalus and Nasrid Granada, and also various customs of the Andalusi? culture in the Niger Bend, which was conquered by the Granada-born Morisco Y?uder Pacha? in 1591.
The musical culture of al-Andalus, transmitted orally, generated a series of specific poetic- musical forms, developed musical theory and had numerous narrative and literary sources. Ibn H?azm de Co?rdoba (t 1064) took part in the philosophical and theological debates regarding the licitness of music; Ibn Bassa?m (t 1147), al-S?aqundi? (t 1231), and ibn Sa`i?d al-Magribi? (t 1282) give us information about the life and experiences of the music and musicians of Al-Andalus; al-Tifa?si? (t 1253), a friend of Ibn Sa`i?d, compared poetic meter to musical meter in an interesting treatise; Ibn al-Jat?i?b, the vizier of Granada (t 1374), Ibn Jaldu?n (t 1406) and al-Maqqari? (t 1631) are among the important references.
Bibliography:
CORTE?S GARCI?A, Manuela: 「Nuevos datos para el estudio de la mu?sica en al-Andalus de dos autores granadinos: S?us?tari? e Ibn al-Jat?i?b」, Revista mu?sica oral del Sur, Granada, 1995, n.o 1, pp: 177-194.
- Pasado y presente de la mu?sica andalusi?, Sevilla, 1996.- Mu?sica y poesi?a en el esplendor omeya, Co?rdoba, 2001. - La mu?sica en la Zaragoza isla?mica, Zaragoza, 2009.
FERNA?NDEZ MANZANO, Reynaldo.: "La mu?sica de al-Andalus en su marco interdisciplinar: aspectos metodolo?gicos", Gazeta de Antropologi?a, 1, Granada, 1982, 48-56.
- "La mu?sica de al-Andalus: problema?tica, fuentes y aspectos ma?s sobresalientes", Asociacio?n Cultural y Econo?mica Espan?a-Arabia Saudi?, Madrid, 1983, 9-12.
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estructuras musicales cristianas, Diputacio?n Provincial de Granada, 1985, 168 pa?g.- "Iniciacio?n a la mu?sica de al-Andalus", Historia y cultura del Islam espan?ol, Escuela de Estudios A?rabes, Consejo Superior de Investigaciones Cienti?ficas, Granada, 1988, 75-99.
- "Las zambras de los moriscos del reino de Granada", El Folk-lore Andaluz, 7, Fundacio?n Machado, Sevilla, 1991, 129-148.- "El orientalismo en la mu?sica europea", III Congreso nacional de musicologi?a, (Granada, 1990) Revista de Musicologi?a, XIV-1991 n. 1-2, Madrid, 1991, 423-427.
- "Iconografi?a y otros aspectos de los instrumentos musicales de al-Andalus", Mu?sica y poesi?a del sur de al- Andalalus. Barcelona, 1995, 79-89.- Mu?sica y poesi?a al sur de al-Andalus, Cata?logo de la exposicio?n. "El Legado Andalusi?" (Reales Alca?zares de Sevilla), en colaboracio?n con Emilio de Santiago Simo?n, Granada, 1995, 125 pag.
- "Instrumentos musicales en al-Andalus", El saber en al-Andalus, Universidad de Sevilla, 1997, 101-136.- Diccionario de la Mu?sica Espan?ola e Hispanoamericana, Madrid, [autor de los te?rminos], V. 1: Al-Ka?tib, Yo?sef (el Escriba)" 151; "A?rabe, mu?sica" 505- 520; "Avempace (Abu? Bakr Muh?ammad ibn Yaya? ibn al-Sa? ?ig ibn Ba?y?y?a)" 880- 881; "Averroes (Abu? l-Wali?l ibn Rus?d)" 882; "Avicena (Abu? `Ali? al Husayn ibn `Abd Alla?h ibn Si?na?, apodado "al- S?hayj al-Ra ?i?s" (el Maestro)" 882-883; v.6 「Ibn al-Jat?i?b」, 「Ibn Bassa?m」, 「Ibn Ezra, Moshe」, 「Ibn H?azm」 393; 「Ibn Jaldu?n」, 「Ibn Sai?d al-Magribi?」, 349; v. 7: 「Muwas?s?ah?a」 921-922; 「Nu?ba」 1073-1075; v. 10:」Ze?jel」 1184-1185; 「Zirya?b」 1190.- "La mu?sica de la Alhambra", Pensar la Alhambra, Barcelona, 2001, 277-291.
- "Transculturaciones cienti?ficas: la investigacio?n de la mu?sica de al-Andalus. Ana?lisis bibliogra?fico", Mu?sica Oral del Sur, Granada, n. 4, 2002, 81-89.GUETTAT, Mahmoud.: - La musique andalouse et ses prolonguements contemporains au Maghreb, Pari?s, 1977.
- La musique classique du Maghreb, Pari?s, 1980.-「Dawr Tunis fi? irsa? ?al-tura?t al-mu?si?qi? al-magribi? al-andalusi?」 (El papel de Tu?nez en la difusio?n del patrimonio musical andalusi?-magrebi?), Mu?si?qa? al-madi?na (obra colectiva), Beirut (1991), 143-182.- Ipact de la musique grenadine sur la musique europe?ene au XVI sie?cle: la facedissimule?e d ?une mutation」, Echo de la prise de Grenade dans la Culture Europe?ene aux XVIe et XVII sie?cle, Tu?nez (1994), 347-355.- 「Coe?xistence de la Qasi?da, el Muwas?s?ah? et le Zay?al dans la nawba: l ?exemple tunisien」, Le chant arabo- andalou, CEFRESS/L ?Harmathan, Pari?s (1995), 31-48.
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