ABSTRACT

The ninth-century poet and musician, Ziryab, is synonymous with the musical cultures of Muslim Spain (al-Andalus) and the idea of commonality between different genres across the Mediterranean. While some scholars have deconstructed the myth of Ziryab at a historiographical level, there has been less consideration of how the myth is interpreted in contemporary musical practice. This article examines how Ziryab is reinterpreted in the present through intercultural music making. Drawing on fieldwork in Madrid and Valencia (2016), I focus on the Ziryab and Us: A New Vision of the Arab-Andalusian Heritage project, in which French, Israeli, Moroccan and Spanish musicians sought to reinterpret the legend of Ziryab through the lens of their own musical traditions. I argue that Ziryab functioned as a discursive trope that engendered a series of micro-social relations between the musicians, framed by ideas of musical affinity, a shared cultural space (the Mediterranean) and cross-cultural exchange. But beyond the ideals of musical connection that Ziryab implies, the relational processes that characterised the project were not always unified. Therefore, I examine some of the points of tension that emerged when the musicians brought together distinct traditions under the rubric of a shared ‘Andalusian’ or Mediterranean heritage.

摘要

9 世纪的诗人和音乐家 Ziryab 是穆斯林西班牙（al-Andalus）音乐文化的代名词，也是地中海不同流派之间的共同点。虽然一些学者在史学层面解构了 Ziryab 的神话，但很少考虑在当代音乐实践中如何解释这个神话。本文探讨了 Ziryab 如何通过跨文化音乐制作在当下被​​重新诠释。借鉴马德里和瓦伦西亚的实地考察（2016 年），我关注Ziryab 和我们：阿拉伯-安达卢西亚遗产的新视野在这个项目中，法国、以色列、摩洛哥和西班牙的音乐家试图通过他们自己的音乐传统来重新诠释 Ziryab 的传奇。我认为 Ziryab 起到了一种话语比喻的作用，在音乐家之间产生了一系列微观社会关系，以音乐亲和力、共享文化空间（地中海）和跨文化交流为框架。但除了 Ziryab 暗示的音乐联系的理想之外，该项目的关系过程并不总是统一的。因此，我考察了当音乐家们在共同的“安达卢西亚”或地中海遗产的标题下将不同的传统融合在一起时出现的一些紧张点。