Crusade Songs and Anti-Frankish Jihad Poetry; an Historical and Ethnomusicological Study

这是一个跨学科的项目，结合了历史、音乐和语言学的方法，系统地研究了古法语和欧西特十字军东征歌曲及其阿拉伯对应的反法兰克圣战诗歌。我希望表明这两个传统不仅相似，而且在重要方面也有联系。研究问题：*这些歌曲能告诉我们什么关于写这些歌的人和它们被写成的历史背景？*以表演为导向的研究过程能在多大程度上为这些歌曲的原始表演背景及其社会功能提供新的线索，或者带来我们仅仅研究手稿无法获得的知识？*有什么证据表明欧洲十字军东征歌曲和阿拉伯圣战诗歌之间存在联系？研究中使用的方法和技术(你打算如何进行研究)：*对歌曲出处的历史调查，歌曲的语境和功能及其现存的来源；*仔细分析歌曲/诗歌的旋律(如有的话)和结构，以及研究旋律与文本的关系，如有可能，请查阅原稿，并研究两种抒情文化可能共有的诗学、风格和内容的任何特征，以及任何一种抒情文化所独有的特征；*自己学习和演唱歌曲选集。民族音乐学研究是建立在田野调查和对活的音乐文化的“参与者观察”的基础上的。由于不可能在12/13世纪进行田野调查，我将采用以表演为导向的研究方法。我将特别关注那些据信曾前往叙利亚/巴勒斯坦的吟游诗人和剧团所写的歌曲，因为任何相互关系在这里可能是最明显的。现存的圣战诗歌没有旋律。传统上，阿拉伯古典音乐避开了记号法，在18世纪之前很少有这样的例子。对于音乐和旋律是什么，这一传统也有自己的理解和争论。然而，我们不应因此而假定圣战诗歌不包含欧洲音乐理论中所理解的旋律元素。阿拉伯古典音乐流派的演奏实践具有很强的连续性，考虑到文本本身的特点，我们可能会推断这些诗歌最初是如何构思和表演的。

This is an interdisciplinary project combining historical, musical and philological approaches in a systematic study of Old French and Occitan crusade songs and their Arabic counterparts, anti-Frankish jihad poems. I expect to show that the two traditions are not only analogous but also connected in significant ways.Research questions:* What can the songs tell us about the people who wrote them and the historical context in which they were written?* How far can the process of performance-led research shed new light on the original performance contexts of the songs and their social functions, or bring knowledge that we cannot gain from simply studying the manuscript?* What evidence is there for a relationship between European crusade songs and Arabic jihad poetry?Methods and techniques to be used in the research (how you propose to go about the research):* Historical investigation of the provenance, context and function of the songs and their extant sources;* Close analysis of the melodies (where available) and structures of the songs/poems, and examination of melody-text relationships, consulting the original manuscripts if possible and examining any features of poetics, style and content that may be common to both lyric cultures, likewise any unique to either;* Learning and performing a selection of the songs myself. Ethnomusicological research is based on fieldwork and 'participant observation' in living musical cultures. As it is impossible to undertake fieldwork in the 12th/13th century, I will adopt performance-led research as a methodology.I will pay special attention to the songs written by those troubadours and trouvères believed to have travelled to Syria/Palestine, as any interrelationship may be most evident here.The extant jihad poetry does not have melodies notated. Traditionally, notation has been shunned in Arabic classical music and it is rare to find examples before the 18th century. The tradition also has its own understandings and debates about what constitutes 'music' and 'melody'. However, we should not assume because of this that the jihad poetry contained no melodic elements as understood in European music theory. There is a strong continuity of performance practice in Arabic classical music genres which, considered alongside features of the texts themselves, may allow us to infer how these poems may possibly have been conceived and performed originally.