我在BBC介绍新疆音乐
原创文章•谢绝转载
2018年11月23日，英国的BBC广播三台（BBC Radio 3）播出了一档由我来介绍新疆音乐的节目。BBC三台是以音乐为主要内容的电台，涵盖古典、爵士、世界音乐等各种风格类型的音乐。我参加的是Music Planet（音乐星球）板块下的Road Trip（公路旅程）节目。这个栏目今年4月份刚刚开播，其理念是带领听众在世界各地的音乐中旅行。
因为我的博士论文就是关于新疆音乐的，另外我也和新疆的一些音乐家一起工作过，所以制作人就把这一期节目交给了我。跟每期一样，制作人希望我能够在新疆这个主题之下涵盖不同类型的音乐，包括流行音乐，但是应具有本地特色。
节目网址：
https://www.bbc.co.uk/sounds/play/p06snbmm（英国地区）
https://www.bbc.co.uk/programmes/m00018bn（其他地区，链接中38'25'' 到 52'10''）
Road Trip每期的时间不长，只有十几分钟。除了在电台播放以外，这个栏目也有播客（podcast）版，在网上可以下载。按照BBC与版权机构的协议，在播客中每首音乐作品在没有其他声音覆盖的情况下最多只能播放一分钟，所以这个栏目并不能完整地播放一首音乐。大部分时候，音乐的声音是与我的介绍交织在一起的。因而，这个节目有点类似于广播剧或者声音纪录片的感觉。
虽然我对新疆音乐比较熟悉，但是选曲也并不容易，因为新疆虽然有丰富的音乐资源，但音乐产业却并不发达。很多有特色的民间音乐并没有被录制、出版，而音像店里的CD大多是MIDI制作的“民歌”或“歌舞团”式的晚会音乐。
经过综合考虑之后，我选择了四首音乐。第一首是我自己在和田的麦西来普聚会上的田野录音，曲目是且比亚特木卡姆和麦西来普。第二首是来自伊犁的乐曲《艾介姆》，由阿里木江•吐尔逊等演奏。第三首是哈萨克族音乐家马木尔的冬不拉独奏《蔓草》。第四首是乌鲁木齐嘻哈团体SixCity的“Qara Deydu”（为你而来）。
以下是本次节目的录音：
由于时间限制，我的解说在播出时略有删节，主要是第一首和第四首的歌词。以下是我的解说词及中文翻译：
Hello, I’m Mu Qian, and today I’ll be your guide for a road trip to the Xinjiang region in Northwestern China, to find out some of the unique musical traditions from the heart of the Silk Road.
大家好，我是穆谦。今天我会作为向导带领大家去中国西北的新疆旅行，去领略丝绸之路深处的一些独特的音乐传统。
Xinjiang is a vast region, about seven times the size of the UK, but with a population of only a third of that of the UK, because a large area in Xinjiang is uninhabitable desert. Around the Taklamakan Desert, people have cultivated a number of oasis towns. From 2015 to 2016, I lived in Khotan, one of the oasis towns on the southern edge of the Taklamakan Desert, to do research on the music of the Sufi Muslims of the Uyghur people, the main ethnic group of Xinjiang. Like many other ethnic groups in this area as well as in the adjacent Central Asian countries, the Uyghur people speak a Turkic language.
新疆是一片广袤的土地，其面积大约是英国的七倍，而人口却只有英国的三分之一，因为新疆的很大一部分是不适于居住的沙漠。在塔克拉玛干沙漠的周围，人们开发出了一些绿洲城市。从2015年到2016年，我就在塔克拉玛干沙漠南缘的绿洲城市和田研究维吾尔族苏非派穆斯林的音乐。维吾尔族是新疆的主要民族。像新疆以及周边中亚国家的很多其他民族一样，维吾尔族的语言属于突厥语族。
1. 和田且比亚特木卡姆和麦西来普
和田麦西来普聚会（摄影：穆谦）
During my time in Khotan, I attended a number of meshrep, a kind of gatherings named after Shah Mashrab, a17th and 18th century Sufi mystic who was born in the Namangan area of today’s Uzbekistan but lived in Khotan for a long time. It is recorded that Mashrab refused to present written copies of his poetry because he thought reading a book makes the ashiq ("lover of God") lose its sense. Instead, his poems have been chanted orally for hundreds of years, and have become what are called today the meshrep songs.
我在和田的时候参加了几次麦西来普（麦西热甫）聚会。这种聚会的名称来源于十七八世纪的一位名叫夏赫•麦西来普的苏非派神秘主义诗人。夏赫•麦西来普出生于今天乌兹别克斯坦的纳曼干，但曾经长期住在和田。据说夏赫•麦西来普拒绝把他的诗歌记录下来，因为他认为阿希克（“爱主者”）在读书的时候会迷失其本意。于是，他的诗作几百年来一直被口口相传，并成为了今天的麦西来普歌曲。
We are now listening to a recording I made at one of the meshrep gatherings — Chebiyyat Muqam and Meshrep by Sufis of Khotan. At first, they sing the free-rhythm Chebiyyat Muqam, one of the Twelve Muqam suites that have become the quintessential Uyghur classical music, but the root of muqam is in Sufism. For Uyghur Sufis, muqam and meshrep are not music per se, but a religious practice that can edify and enlighten people.
我们现在听到的是我在一次麦西来普聚会上的录音。开始时他们演唱散拍的“且比亚特木卡姆”，这是十二木卡姆中的一首。木卡姆是维吾尔古典音乐的精华，然而它的根在苏非主义。对于维吾尔苏非派穆斯林来说，木卡姆和麦西来普本质上并不是音乐，而是一种启迪、教导人的修行方式。
After the muqam comes the first meshrep song in an asymmetrical rhythm that is called by some the “limping beat”, which is characteristic of Central Asian music. Some musicologists have notated it in a seven eight beat, but for me, it is more natural to conceive of this rhythmic pattern as consisting of two parts with different time units. Because this music actually alternates between two different beats, it can feel to be floating between two worlds. This in-between state created by such an alternation may contribute to a feel of trance in the listener, as it provides a blurred feel.
木卡姆之后是第一麦西来普，它使用的是一种非均分节拍。这种富有中亚特色的节拍被一些人称为“瘸拍子”。有些音乐学家把它记成八七拍，然而在我看来，它更像是包含两个单位时值不同的部分。这种音乐实际上是在两种拍子中循环往复，因而让人感觉像是游走于两个世界之间。而这种由节拍轮换带来的游移感有可能引导听者进入一种迷幻状态。
As this meshrep gathering went on, some participants entered trance. Some rolled over the floor and cried, which are signs of being attracted by God. They also danced to the music, and recited dhikr, or God’s names, which became a layer in this powerful multi-part soundscape.
随着这首麦西来普歌曲的进行，一些参与者确实进入了迷幻状态。有些人在地上打滚，有些人在哭泣，而苏非们认为这代表着他们受到了真主的吸引。他们继而随着音乐起舞，并有节奏地念诵则克尔（真主的名字），而这种念诵成为了整个强大声场的一个层次。
2. 阿里木江•吐尔逊等—艾介姆
夏地亚那乐团专辑《这个世界》
Now we travel across the Tianshan, a range of snow-capped mountains that span nearly 3000 kilometres and divide Xinjiang into two parts. We are in Ghulja in the Ili Valley of North Xinjiang.
现在我们穿越天山这座横亘在新疆中部的山脉。白雪覆盖的天山长近三千公里，它把新疆分为南疆和北疆两部分。现在我们到达了伊犁河谷中的伊宁。
Compared to the regional styles of Khotan, music of Ghulja usually features more ornamentations and subtle changes of timbres and dynamics, as can be heard in this piece.
跟和田的音乐风格相比，伊犁音乐更富装饰性，在音色、力度方面也有着更细腻的变化，正如这首乐曲所展示的那样。
This is an instrumental piece called Ejem, played on the higher-pitched tembur lute by Alimjan Tursun and on the lower-pitched dutar lute by Köres Rejep.
这首曲子叫《艾介姆》，由阿里木江•吐尔逊演奏高音部的弹布尔，库莱斯•热杰普演奏低音部的都塔尔。
Alimjan was born in Ghulja and he learned to play different Uyghur lutes from his father since childhood. Later he became one of the most sought-after Uyghur musicians and recorded numerous works, including music of the blockbuster film Crouching Tiger, Hidden Dragon. Unfortunately Alimjan passed away in April, at the age of only 57. Let’s pay tribute to Alimjan by listening to this recording of Ejem which was made by the Pan Records in 1993 during the Europe tour of the Shadiyana Ensemble of which Alimjan was a part.
阿里木江出生于伊宁。他自幼跟随父亲学习维吾尔族弹拨乐器，后来成为最出名的维吾尔乐手之一。阿里木江录制了大量作品，包括电影《卧虎藏龙》的主题音乐。不幸的是，阿里木江今年4月份突然病逝，年仅57岁。让我们在这首《艾介姆》中向他致敬吧。这是Pan唱片公司在1993年夏地亚那乐团的欧洲巡演期间录制的，而阿里木江正是乐团的一员。
3. 马木尔—蔓草
马木尔专辑《星空》
In Xinjiang there are not only the Uyghur people, but also other ethnic groups, such as the Kazak, who traditionally live nomadic lives by herding cows and sheep on grasslands and in the mountains.
新疆不仅有维吾尔族，还有很多其他民族，比如自古以来在草原和山地游牧的哈萨克族。
Compared to the Uyghur people who are mostly farmers and small traders, the Kazak people have different attitudes of life which are reflected in their music.
相对于主要从事农业和商业的维吾尔族来说，哈萨克族有着不同的生活态度，这也反映在他们的音乐当中。
Now we are hearing a solo of the dombra, a two-stringed plucked lute, by ethnic Kazak musician Mamer.
现在我们听到的是两弦的弹拨乐器冬不拉的一首独奏，由哈萨克族音乐家马木尔演奏。
Mamer made his name known to the world with his CD titled Eagle, released by the Real World label in 2009. The album presents more popular takes of Kazak folk songs in a fusion of traditional and contemporary instruments. But since then, Mamer has developed his music in two directions. One direction is more avant-garde, improvised and industrial sound with distorted electric bass and percussion. The other direction is solo instrumental pieces based on traditional folk music. This piece we are hearing now, Trailing Plant (Xermawek), belongs to the latter. This album, titled Sky, presents a serene world of reflective melodies and free rhythm, played on the two strings of the dombra. When you listen to it, you can’t help thinking that sometimes what you need is just the simplest form of music that speaks to your heart.
马木尔2009年在Real World厂牌出版了《鹰》专辑，从而被国际听众所了解。那张专辑融合了传统和当代乐器，并对哈萨克民歌进行了流行化的处理。而在那之后，马木尔的音乐向两个方向发展。一个方向是由失真的电贝司和打击乐构成的更加先锋、即兴、工业的作品。另一个方向是基于传统民间音乐的独奏。我们现在听到的这首《蔓草》（Xermawek）属于后者。这张题为《星空》的专辑完全由冬不拉演奏，并通过内省的旋律和自由节拍呈现出一个静谧的世界。听到这张专辑的时候，你会发现，有时候你的内心需要的只是最简单的音乐。
4. SixCity—“Qara Deydu” (为你而来)
SixCity专辑《Kochidiki Parang（谁说的）》
The last stop of our road trip is Xinjiang’s capital city Ürümchi, and the music we are going to hear is – hip-hop.
我们这次旅程的最后一站是新疆的首府乌鲁木齐，而我们要听的音乐是：嘻哈。
Xinjiang is a remote area located at the interface of Central Asia and China. According to the Guinness Book of Records, Ürümchi is the most remote city from any sea inthe world. But Xinjiang is not isolated from globalisation. A musical example is the rise of hip-hop.
新疆位于中国与中亚的接口处。根据《吉尼斯世界纪录大全》，乌鲁木齐是世界上距离海洋最遥远的城市。然而新疆并非置身于全球化之外的隔绝之地，一个音乐上的例子就是嘻哈音乐的兴起。
Now we are listening to a group called SixCity, or Alte Sheher in Uyghur language, a historical term for South Xinjiang based on the six major oasis towns of the area—Kashgar, Yengisar, Yarkand, Khotan, Aqsu, and Kucha. This archipelago of oasis towns were traditionally where the majority of Uyghur people lived and where the Uyghur culture was born. SixCity is one of the pioneers of Uyghur hip-hop. By calling themselves SixCity, the musicians are taking pride in their history and identity, even as they are performing a style of music that has been imported from the outside.
现在我们听到的这个组合叫做SixCity，用维语说是Alte Sheher，也就是“六城”的意思。这是历史上人们对南疆地区的称呼，基于那里的六个主要城市—喀什、英吉沙、莎车、和田、阿克苏、库车。这些像群岛一样分布在南疆的绿洲城市是历史上维吾尔族的主要聚居地，也是维吾尔文化的兴起之处。SixCity是维吾尔说唱的先驱之一。他们取名SixCity，代表着他们对于本民族历史与身份的自豪，即便他们所表演的是一种外来的音乐形式。
Actually hip-hop is no longer a foreign music now, as SixCity raps in the Uyghur language, using the Uyghur plucked tembur, and they have created this song based on a Uyghur folk song called Qara Deydu, which means “Look, She Says”. The traditional folk song of Qara Deydu is about a young man’s love for a girl, but SixCity have made it into a song about their love for not only their beloved persons, but also their city, their culture, their people, and Xinjiang, which they call home.
其实，嘻哈对于他们来说已经不再是一种外来音乐了。SixCity使用维语演唱，在音乐中使用弹布尔，而这首Qara Deydu是在一首同名的维吾尔民歌基础上创作的，它的意思是“她说，看”。这首民歌表达的是一个小伙子对一个姑娘的爱，而SixCity已把这种爱拓展为对自己的城市、民族、文化以及他们的家乡新疆的爱。
这次节目播出之后，有很多外国听众都在社交媒体上表达了对新疆音乐的浓厚兴趣。当然，这与之前国际上了解新疆音乐的渠道太少有关。无论从现场演出还是唱片发行的角度来看，来自新疆的音乐家在国际上的展示机会都确实太少了。希望这次节目作为一个小小的窗口，能够为新疆音乐的传播带来更多的契机。
感谢：Muqeddes Muxter、Iskandar Ding在整理、翻译歌词方面的帮助
收听以上音乐的完整录音，请点击文末“原文阅读”
作者简介：穆谦，伦敦大学亚非学院(SOAS)民族音乐学博士候选人，环球世界音乐排行榜(www.transglobalwmc.com)评委，《音乐人类学》(梅里亚姆著)中文版译者。
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