August 25, 2008
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名稱： 薩那歌樂 Songs of Sanaa
類別： 傳統音樂 國家： 葉門 (Yemen)
薩那歌曲，指的是一種盛行於葉門的傳統音樂形式，內容包括整套歌曲系列。這種歌曲源自於14世紀以來的各種詩歌，通常是在慶典、重要的社會活動、婚禮守夜和每天午后的朋友、同事的聚會上表演。
薩那歌曲由一位獨唱歌手演唱，兩種古樂器伴奏，葉門魯特 lute 琴，另外還有一種銅盤。樂手用兩隻大拇指頂著銅盤，用其他8個手指輕輕敲擊。音樂旋律豐富，各具特色，有固定的調性，演唱者的才華在於加強唱詞的表意，修飾旋律，打動聽眾。這種音樂也可以為當地傳統的民族舞蹈伴奏。
唱詞用葉門當地方言和古代阿拉伯語寫成，感情激蕩，有著大量的雙關語。葉門人民把詩歌看作是文學的最高形式，而薩那歌曲的歌詞則是詩歌的精髓，在葉門廣為引用。儘管這種歌曲得名於葉門歷史名都薩那，但是在全國各個城鎮，廣受歡迎，因此，從城市到鄉村，都能夠聽到薩那歌曲演唱。事實上，薩那歌曲充滿詩意的歌詞，經常是從全國各地的方言當中萃煉出來的，而傳統曲調，則是歌手從其他音樂中借用而來的，特別是民間舞曲和當代音樂。
引用 UNESCO 原文
The Song of Sana’a, also known as al-Ghina al-San’ani, designates a group of songs that belongs to a rich musical tradition practised throughout Yemen. Derived from various poetic traditions dating from the fourteenth century, this genre constitutes an integral part of social events, such as the samra marriage evenings and the magyal, the daily afternoon gathering of friends and colleagues.
The songs are interpreted by a solo singer accompanied by two ancient instruments: the qanbus (the Yemeni lute), and the sahn nuhasi, a copper tray which is balanced upon the player’s thumbs and lightly struck with the other eight fingers. There are a large number of melodic types. Modulation from one to another within a single performance is rare, but the artistry of a performer is judged by his ability to embellish a melody in order to highlight the meaning of the text and to move the listeners. The poetic repertory, written in both Yemeni dialect and classical Arabic, abounds in wordplay and is renowned for its emotional content. The texts of the songs constitute the most revered and frequently quoted body of poems in Yemen. Although the songs are directly associated with Yemen’s historical capital, Sana’a, they can be heard in many towns and rural areas throughout Yemen. In fact, the poetic repertory often draws on dialects from different parts of the country. In addition, traditional melodies are regularly borrowed by performers of other genres, including rural dances and contemporary music.
Although Yemenis remain very proud of the Song of Sana’a tradition, attendance has dwindled and today’s musicians – despite their growing numbers – know only a handful of old songs, which they interject in their performances before moving on to lighter contemporary pieces. It is just a few elderly musicians who have preserved the breadth of the Song of Sana’a tradition and the subtleties of its interpretation.
類別： 傳統音樂 國家： 葉門 (Yemen)
薩那歌曲，指的是一種盛行於葉門的傳統音樂形式，內容包括整套歌曲系列。這種歌曲源自於14世紀以來的各種詩歌，通常是在慶典、重要的社會活動、婚禮守夜和每天午后的朋友、同事的聚會上表演。
薩那歌曲由一位獨唱歌手演唱，兩種古樂器伴奏，葉門魯特 lute 琴，另外還有一種銅盤。樂手用兩隻大拇指頂著銅盤，用其他8個手指輕輕敲擊。音樂旋律豐富，各具特色，有固定的調性，演唱者的才華在於加強唱詞的表意，修飾旋律，打動聽眾。這種音樂也可以為當地傳統的民族舞蹈伴奏。
唱詞用葉門當地方言和古代阿拉伯語寫成，感情激蕩，有著大量的雙關語。葉門人民把詩歌看作是文學的最高形式，而薩那歌曲的歌詞則是詩歌的精髓，在葉門廣為引用。儘管這種歌曲得名於葉門歷史名都薩那，但是在全國各個城鎮，廣受歡迎，因此，從城市到鄉村，都能夠聽到薩那歌曲演唱。事實上，薩那歌曲充滿詩意的歌詞，經常是從全國各地的方言當中萃煉出來的，而傳統曲調，則是歌手從其他音樂中借用而來的，特別是民間舞曲和當代音樂。
引用 UNESCO 原文
The Song of Sana’a, also known as al-Ghina al-San’ani, designates a group of songs that belongs to a rich musical tradition practised throughout Yemen. Derived from various poetic traditions dating from the fourteenth century, this genre constitutes an integral part of social events, such as the samra marriage evenings and the magyal, the daily afternoon gathering of friends and colleagues.
The songs are interpreted by a solo singer accompanied by two ancient instruments: the qanbus (the Yemeni lute), and the sahn nuhasi, a copper tray which is balanced upon the player’s thumbs and lightly struck with the other eight fingers. There are a large number of melodic types. Modulation from one to another within a single performance is rare, but the artistry of a performer is judged by his ability to embellish a melody in order to highlight the meaning of the text and to move the listeners. The poetic repertory, written in both Yemeni dialect and classical Arabic, abounds in wordplay and is renowned for its emotional content. The texts of the songs constitute the most revered and frequently quoted body of poems in Yemen. Although the songs are directly associated with Yemen’s historical capital, Sana’a, they can be heard in many towns and rural areas throughout Yemen. In fact, the poetic repertory often draws on dialects from different parts of the country. In addition, traditional melodies are regularly borrowed by performers of other genres, including rural dances and contemporary music.
Although Yemenis remain very proud of the Song of Sana’a tradition, attendance has dwindled and today’s musicians – despite their growing numbers – know only a handful of old songs, which they interject in their performances before moving on to lighter contemporary pieces. It is just a few elderly musicians who have preserved the breadth of the Song of Sana’a tradition and the subtleties of its interpretation.
