阿拉伯音樂理論與美學傳統在世紀末的發展與變遷初探

探討「阿拉伯音樂」(Arab music)的途徑主要是通過阿拉伯傳統藝術音樂的調式、節奏原理；本文的目的則是藉著「阿拉伯地區」歷年來，在屢次的音樂理論及美學會議中反映的事實與現象，做為「全球化」趨勢下，臺灣傳統藝術音樂研究發展的參考。近東音樂文化雖然在一九一八年以來暫時結束了英、西、意、法殖民統治帶來的災難，但是二十世紀末的阿拉伯音樂美學終究免不了外來（歐洲）的衝擊。所謂「現代化」或「發達的結果」（阿拉伯話說：（taţwīir或taţawwur），換句話說，其實是對「家傳」(turāth)傳統的冷淡。這種現象我們並不陌生，但是對於這個問題，阿拉伯人認為需要更進一步去認識與討論。例如，評論家固然會譴責阿拉伯「方言化」的歌曲與樂器，但畢竟阿拉伯的「地方」指的是一個國家或民族，這種現象在所難免；而批評家譴責那些品質差、大量工業化的音樂產物，然而，這就代表促成這種情況發展的廣播電台與電視台是破壞「學術」的主要力量嗎？調式的問題在阿拉伯歷年來曾有多次的會議進行討論，這無疑體顯了阿拉伯音樂理論系統的複雜、嚴密及其獨特性之一隅。值得觀察的是，阿拉伯人也重視實際，為結合實際演出的需要，調整出各種新的記譜、樂隊編制、樂器形制等等；但是，在各種實驗之後，也有人提出相對建言，擔心過度趨向實際可能失去阿拉伯」音樂最可貴的靈魂－「風格」。總之，研究阿拉伯音樂發展變遷中的許多問題，不但可認識其悠久的歷史與的文化，更是比較同為人類文明與音樂史上佔有源頭地位的中國、印度等地音樂的重要基礎。

關鍵字

伊斯蘭(Islam) ；阿拉伯音樂；阿拉伯調式；阿拉伯節奏型；馬卡姆現象

並列摘要

Main course to study the Arab music is through apprehension of the cultural history of the Arab music and the melody and rhythmical principle of the traditional art music. This paper is primarily aimed at reflecting the facts and phenomena as disclosed in the music esthetics in the Arabian region, which had close tie with the origin of Chinese music in history, and in the various conferences of the music theory, and contemplating how to structure the comparative study of the traditional art music toward trend of globalization. Since 1918 the catastrophe brought to the Near East by the occupation of English, Spanish, Italian and French colony had ended temporarily, but the esthetics of Arab music toward the end of the twentieth century still could not avoid the foreign European impact. Modernization or outcome of the development, called tatwir or tatawwur in Arabian terms, means negligence of the tradition of the heritage, called turath in Arabian terms. To us this phenomena is not strange, but this does not mean we have had enough knowledge and discussion in this regard. In deed the critic blames songs and musical instruments for the dialects, but Arabian ”region” means in most time one nation or people. Is the big size of the region the cause of differences? Or is it more important to keep the cored symbol but allow the existence of different voices or minor differences? (This could be one of the reason why it is still active.) All are worthy of our investigation. The critic also blames the industrialized mass production of the Arab music for their inferior quality. Are the radio and television stations that cause to generate the mass production the actual power to destroy the ”academy”? The writer considers it is improper to overlook all such kind problems. The subject of melody has been repeatedly presented in the conferences, evidencing complicated theory of the Arab music and uniqueness of its importance. It is noticeable that Arabian people is also pragmatic, notation, orchestra, instruments and etc. are modified to fit the need of the practical performances. More noticeable is that after the modification someone was able to remind the risk that the ”character” the most valuable soul might get lost due to over tendency to the practical. The writer concludes that many complicated problems emerged in the study of the development and changes of the Arab music suffice to explain its long history and complicated culture. Even today they can be used as important bases for the comparative study of Chinese, Indian, or other music that holds as important original position as the Arab music in the civilization and musical history of the mankind.